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Ramon Solá II (c. 1445 - 1502)Ramon Solá II (c. 1445 - 1502)"Calvary with Arma Christi"Tempera and
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Barcelona
Beschreibung
Ramon Solá II (c. 1445 - 1502)
Ramon Solá II (c. 1445 - 1502)
"Calvary with Arma Christi"
Tempera and pricked gold on panel.
The painting is currently identified with the Mestre de Girona. Trained in his early years at the workshop of his father, Ramón Solà I, with whom he worked intensively in Girona, he moved to Barcelona when his father died in 1462, where he became involved with Jaume Huguet´s workshop. In 1465, along with Huguet, he worked for Constable Peter of Portugal on the decoration of the Barcelona Royal Palace. This circumstance, as well as the contracts signed by Bernat Vicens (1458) and by Esteva Solà (1467) with Jaume Huguet mean that we can be certain that Ramon Solà II collaborated with the Barcelona master. In 1470 he returned to Girona, where he worked for the following 20 years, becoming one of the most outstanding painters there, and being offered most of the commissions for the cathedral.
In Girona Cathedral, some testaments to his work remain, such as the polychroming of a dome and two panel paintings of the Annunciation.
The Museu d’Art in Girona, has, as well as a calvary attributed to the painter, another panel painting attributed to Ramon Solà II, depicting the Apostle Saint James, which has been acquired recently.
More of his work can be seen at the Museu de Sitges (near Barcelona) and at the Museo de Bellas Artes in Bilbao
57 x 59 cm.
Bibliography: - Gudiol y Alcolea. “Pintura gótica catalana” (Catalan gothic painting) Published by Polígrafa. p. 181 – 183.
- POST, Chandler R.: A History of Spanish Painting, vol. VII
Ramon Solá II (c. 1445 - 1502)
"Calvary with Arma Christi"
Tempera and pricked gold on panel.
The painting is currently identified with the Mestre de Girona. Trained in his early years at the workshop of his father, Ramón Solà I, with whom he worked intensively in Girona, he moved to Barcelona when his father died in 1462, where he became involved with Jaume Huguet´s workshop. In 1465, along with Huguet, he worked for Constable Peter of Portugal on the decoration of the Barcelona Royal Palace. This circumstance, as well as the contracts signed by Bernat Vicens (1458) and by Esteva Solà (1467) with Jaume Huguet mean that we can be certain that Ramon Solà II collaborated with the Barcelona master. In 1470 he returned to Girona, where he worked for the following 20 years, becoming one of the most outstanding painters there, and being offered most of the commissions for the cathedral.
In Girona Cathedral, some testaments to his work remain, such as the polychroming of a dome and two panel paintings of the Annunciation.
The Museu d’Art in Girona, has, as well as a calvary attributed to the painter, another panel painting attributed to Ramon Solà II, depicting the Apostle Saint James, which has been acquired recently.
More of his work can be seen at the Museu de Sitges (near Barcelona) and at the Museo de Bellas Artes in Bilbao
57 x 59 cm.
Bibliography: - Gudiol y Alcolea. “Pintura gótica catalana” (Catalan gothic painting) Published by Polígrafa. p. 181 – 183.
- POST, Chandler R.: A History of Spanish Painting, vol. VII
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Ramon Solá II (c. 1445 - 1502)
Ramon Solá II (c. 1445 - 1502)
"Calvary with Arma Christi"
Tempera and pricked gold on panel.
The painting is currently identified with the Mestre de Girona. Trained in his early years at the workshop of his father, Ramón Solà I, with whom he worked intensively in Girona, he moved to Barcelona when his father died in 1462, where he became involved with Jaume Huguet´s workshop. In 1465, along with Huguet, he worked for Constable Peter of Portugal on the decoration of the Barcelona Royal Palace. This circumstance, as well as the contracts signed by Bernat Vicens (1458) and by Esteva Solà (1467) with Jaume Huguet mean that we can be certain that Ramon Solà II collaborated with the Barcelona master. In 1470 he returned to Girona, where he worked for the following 20 years, becoming one of the most outstanding painters there, and being offered most of the commissions for the cathedral.
In Girona Cathedral, some testaments to his work remain, such as the polychroming of a dome and two panel paintings of the Annunciation.
The Museu d’Art in Girona, has, as well as a calvary attributed to the painter, another panel painting attributed to Ramon Solà II, depicting the Apostle Saint James, which has been acquired recently.
More of his work can be seen at the Museu de Sitges (near Barcelona) and at the Museo de Bellas Artes in Bilbao
57 x 59 cm.
Bibliography: - Gudiol y Alcolea. “Pintura gótica catalana” (Catalan gothic painting) Published by Polígrafa. p. 181 – 183.
- POST, Chandler R.: A History of Spanish Painting, vol. VII
Ramon Solá II (c. 1445 - 1502)
"Calvary with Arma Christi"
Tempera and pricked gold on panel.
The painting is currently identified with the Mestre de Girona. Trained in his early years at the workshop of his father, Ramón Solà I, with whom he worked intensively in Girona, he moved to Barcelona when his father died in 1462, where he became involved with Jaume Huguet´s workshop. In 1465, along with Huguet, he worked for Constable Peter of Portugal on the decoration of the Barcelona Royal Palace. This circumstance, as well as the contracts signed by Bernat Vicens (1458) and by Esteva Solà (1467) with Jaume Huguet mean that we can be certain that Ramon Solà II collaborated with the Barcelona master. In 1470 he returned to Girona, where he worked for the following 20 years, becoming one of the most outstanding painters there, and being offered most of the commissions for the cathedral.
In Girona Cathedral, some testaments to his work remain, such as the polychroming of a dome and two panel paintings of the Annunciation.
The Museu d’Art in Girona, has, as well as a calvary attributed to the painter, another panel painting attributed to Ramon Solà II, depicting the Apostle Saint James, which has been acquired recently.
More of his work can be seen at the Museu de Sitges (near Barcelona) and at the Museo de Bellas Artes in Bilbao
57 x 59 cm.
Bibliography: - Gudiol y Alcolea. “Pintura gótica catalana” (Catalan gothic painting) Published by Polígrafa. p. 181 – 183.
- POST, Chandler R.: A History of Spanish Painting, vol. VII
Old Masters, Medieval & Colonial Art
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