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Jaume Cabrera (doc. 1394-1432)

In Images. The Divine and the Human

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Jaume Cabrera (doc. 1394-1432) - Bild 8 aus 15
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Jaume Cabrera (doc. 1394-1432) - Bild 10 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 11 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 12 aus 15
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Jaume Cabrera (doc. 1394-1432) - Bild 14 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 15 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 1 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 2 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 3 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 4 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 5 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 6 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 7 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 8 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 9 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 10 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 11 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 12 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 13 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 14 aus 15
Jaume Cabrera (doc. 1394-1432) - Bild 15 aus 15
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Jaume Cabrera (doc. 1394 - 1432) "Madonna and Child with Angels"Tempera painting on panel. Catalonia, circa 1400. 53,5 x 63 cm Originally from the altarpiece of the church of Salvador de l’Alzina de Ribelles (Vilanova de l’Aguda, Lleida). According to the report that Dr. Alberto Velasco Gonzàlez has written on this painting, this is one of the compartments of the predella of the altarpiece from the church of Salvador de Alzina de Ribelles (Vilanova de l’Aguda, Lleida). The upper body of the altarpiece is now kept at the Museu Maricel in Sitges, whilst the compartments that formed the predella were dispersed into the art and antiques market. The panels which were part of it are kept in different private collections, excepting the Epiphany, which can be found in the Museu Nacional d’Art de Catalunya in Barcelona. The panel shows a depiction of the Madonna and Child surrounded by musician angels. Ichnographically, the painting is outstanding in the way it shows us a type of Madonna that was common in the Middle Ages, Our Lady of Humility – in which the Virgin Mary sits on the floor on a cushion. A second important detail is the fact that Jesus is holding a little bird that pecks one of his fingers. This can be interpreted as a metaphor of the Resurrection and, especially, as an allegory for the passion and death of Christ. With regard to the style, the altarpiece of Alzina de Ribelles is one of the initial (and most important) works by the painter Jaume Cabrera, and it is believed that he painted it circa 1400. He was an artist of the first generation of the international style in Catalonia, alongside Lluís Borrassà, Guerau Gener, Joan Mates and others. He preferred to work in the Barcelona area, although he is also documented in the Girona area and the surroundings of Vic. It is specifically in the Episcopal Museum in Vic that a panel is kept with the same scene as this panel, which must certainly correspond to a later moment in his career. Apart from the altarpiece of Alzina de Ribelles, other outstanding works by Jaume Cabrera include the altarpiece of Saint Nicholas, kept at the church of Santa María in Manresa, that of Saint Martin Sarroca, the Lamentation before the Dead Christ in the Museu d’Art in Girona, and a small triptych which is kept in the Museo Arqueológico Nacional in Madrid. We would like to thank Dr. Alberto Velasco Gonzàlez for identifying and cataloguing this painting. Dr. Alberto Velasco Gonzàlez´s report is included in the lot. Provenance: Barcelona, in a dealership (Josep Bardolet); Barcelona, Ricard Viñas Geis collection; Barcelona, private collection.Bibliography on the painting: - CHANDLER RATHFON POST, The Hispano-Flemish Style in North-Western Spain (A History of Spanish Painting, vol. IV), Cambridge [Massachusets], Harvard University Press, 1933, pp. 524-528, fig. 204 (reproduced). - JOSEP GUDIOL RICART Y SANTIAGO ALCOLEA BLANCH, Pintura Gótica Catalana, Barcelona, Polígrafa, 1986, p. 95, cat. 243, p. 353, fig. 443 (reproduced). - MARIA JOSEP BORONAT I TRILL, La política d’adquisicions de la Junta de Museus: 1890-1923, Barcelona, Publicacions de l’Abadia de Montserrat, 1999, p. 686. - FRANCESC RUIZ QUESADA, “Jaume Cabrera”, in L’art gòtic a Catalunya. Pintura II. El corrent internacional, Barcelona, Enciclopèdia Catalana, 2005, p. 103 and 107. - MARTA PIÑOL LLORET, Jaume Cabrera, pintor català entre l’italianisme i el gòtic internacional, Trabajo Final de Máster, Barcelona, Universitat de Barcelona, 2011, p. 66, 76-77, 108, 126, 128 and263, fig. 103 (reproduced). - ALBERTO VELASCO GONZÀLEZ, Devocions pintades. Retaules de les Valls d’Àneu (segles XV i XVI), Lleida, Pagès Editors, 2011, pp. 124-125 and 285.Photo credits:- Altarpiece of Sant Salvador. Museu Maricel de Sitges. Collection of Dr. Jesús Pérez-Rosales.- Photographic documentation of the original altarpiece. Fundació Institut Amatller d'Art Hispànic.- Epiphany. Museu Nacional d'Art de Catalunya (n. 044528-000).
Jaume Cabrera (doc. 1394 - 1432) "Madonna and Child with Angels"Tempera painting on panel. Catalonia, circa 1400. 53,5 x 63 cm Originally from the altarpiece of the church of Salvador de l’Alzina de Ribelles (Vilanova de l’Aguda, Lleida). According to the report that Dr. Alberto Velasco Gonzàlez has written on this painting, this is one of the compartments of the predella of the altarpiece from the church of Salvador de Alzina de Ribelles (Vilanova de l’Aguda, Lleida). The upper body of the altarpiece is now kept at the Museu Maricel in Sitges, whilst the compartments that formed the predella were dispersed into the art and antiques market. The panels which were part of it are kept in different private collections, excepting the Epiphany, which can be found in the Museu Nacional d’Art de Catalunya in Barcelona. The panel shows a depiction of the Madonna and Child surrounded by musician angels. Ichnographically, the painting is outstanding in the way it shows us a type of Madonna that was common in the Middle Ages, Our Lady of Humility – in which the Virgin Mary sits on the floor on a cushion. A second important detail is the fact that Jesus is holding a little bird that pecks one of his fingers. This can be interpreted as a metaphor of the Resurrection and, especially, as an allegory for the passion and death of Christ. With regard to the style, the altarpiece of Alzina de Ribelles is one of the initial (and most important) works by the painter Jaume Cabrera, and it is believed that he painted it circa 1400. He was an artist of the first generation of the international style in Catalonia, alongside Lluís Borrassà, Guerau Gener, Joan Mates and others. He preferred to work in the Barcelona area, although he is also documented in the Girona area and the surroundings of Vic. It is specifically in the Episcopal Museum in Vic that a panel is kept with the same scene as this panel, which must certainly correspond to a later moment in his career. Apart from the altarpiece of Alzina de Ribelles, other outstanding works by Jaume Cabrera include the altarpiece of Saint Nicholas, kept at the church of Santa María in Manresa, that of Saint Martin Sarroca, the Lamentation before the Dead Christ in the Museu d’Art in Girona, and a small triptych which is kept in the Museo Arqueológico Nacional in Madrid. We would like to thank Dr. Alberto Velasco Gonzàlez for identifying and cataloguing this painting. Dr. Alberto Velasco Gonzàlez´s report is included in the lot. Provenance: Barcelona, in a dealership (Josep Bardolet); Barcelona, Ricard Viñas Geis collection; Barcelona, private collection.Bibliography on the painting: - CHANDLER RATHFON POST, The Hispano-Flemish Style in North-Western Spain (A History of Spanish Painting, vol. IV), Cambridge [Massachusets], Harvard University Press, 1933, pp. 524-528, fig. 204 (reproduced). - JOSEP GUDIOL RICART Y SANTIAGO ALCOLEA BLANCH, Pintura Gótica Catalana, Barcelona, Polígrafa, 1986, p. 95, cat. 243, p. 353, fig. 443 (reproduced). - MARIA JOSEP BORONAT I TRILL, La política d’adquisicions de la Junta de Museus: 1890-1923, Barcelona, Publicacions de l’Abadia de Montserrat, 1999, p. 686. - FRANCESC RUIZ QUESADA, “Jaume Cabrera”, in L’art gòtic a Catalunya. Pintura II. El corrent internacional, Barcelona, Enciclopèdia Catalana, 2005, p. 103 and 107. - MARTA PIÑOL LLORET, Jaume Cabrera, pintor català entre l’italianisme i el gòtic internacional, Trabajo Final de Máster, Barcelona, Universitat de Barcelona, 2011, p. 66, 76-77, 108, 126, 128 and263, fig. 103 (reproduced). - ALBERTO VELASCO GONZÀLEZ, Devocions pintades. Retaules de les Valls d’Àneu (segles XV i XVI), Lleida, Pagès Editors, 2011, pp. 124-125 and 285.Photo credits:- Altarpiece of Sant Salvador. Museu Maricel de Sitges. Collection of Dr. Jesús Pérez-Rosales.- Photographic documentation of the original altarpiece. Fundació Institut Amatller d'Art Hispànic.- Epiphany. Museu Nacional d'Art de Catalunya (n. 044528-000).

Images. The Divine and the Human

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