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"Madonna and Child". Carved, gilded, polychromed relief. Castilian School. 2nd quarter 16th century.
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Beschreibung
"Madonna and Child". Carved, gilded and polychromed relief. Castilian School. Second quarter of the 16th century.
51 x 45 x 7 cm.
This delicate relief of the Madonna and Child presents us with an intimate scene of a marked devotional character. The Mother has been depicted as half-bodied holding her Son in a closed, circular composition, in which no element protrudes from the whole. Harmony, softness and elegance are the three characteristics of this small masterpiece that shows a loving and affectionate image of the Virgin with the Child, who play and caress at the same time as they hold two elements in their hands: the Madonna holds a book and the Child the orb. The robust body of the Son, captured in all its fullness, makes a twisting movement that brings remarkable elegance to the composition and recalls distant lessons from Michaelangelo. It is, therefore, likely that the anonymous carver of this sculpture had some degree of knowledge of Italian sculpture from the first third of the sixteenth century.
While the Son looks lovingly at his Mother, she looks straight at the viewer with an expression of melancholic tenderness – a very melancholic face in the line of Diego de Siloé (c.1490-1563) – as if she knows the future destiny that awaits her Son. Both comb their blonde hair, the Child's is composed of infinite curls, while Mary's is made up of wavy strands that fall down her back and are hidden at the front by the curious, elegant and luxurious headdress that covers her head. Also luxurious is the dress she wears, full of abundant folds, and with a circular neckline through which one of her breasts protrudes. Working in thin layers allows the artist to create a rhythm of smooth curved lines when treating the folds. The faces are delicate, displaying a classic taste for idealized beauty.
This relief of the Virgin and Child in the form of a tondo is a very delicate piece, of very high quality and fineness, which combines the Italianate aesthetic with the Castilian, which would indicate that it was made by an important master, perhaps from Burgos, who had either travelled to Italy, or was able to learn about Italian novelties in Spain through the influence of another master. It has great correlation to the medallions of the same subject preserved in the National Museum of Sculpture: one in alabaster by Felipe Bigarny (c.1470-1542) and another in wood that is attributed to Gabriel Yoly (c.1480-1538), although, stylistically speaking, it has little in common with them. Due to the characteristics referred to, the sculpture can be dated to the second quarter of the sixteenth century.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
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"Madonna and Child". Carved, gilded and polychromed relief. Castilian School. Second quarter of the 16th century.
51 x 45 x 7 cm.
This delicate relief of the Madonna and Child presents us with an intimate scene of a marked devotional character. The Mother has been depicted as half-bodied holding her Son in a closed, circular composition, in which no element protrudes from the whole. Harmony, softness and elegance are the three characteristics of this small masterpiece that shows a loving and affectionate image of the Virgin with the Child, who play and caress at the same time as they hold two elements in their hands: the Madonna holds a book and the Child the orb. The robust body of the Son, captured in all its fullness, makes a twisting movement that brings remarkable elegance to the composition and recalls distant lessons from Michaelangelo. It is, therefore, likely that the anonymous carver of this sculpture had some degree of knowledge of Italian sculpture from the first third of the sixteenth century.
While the Son looks lovingly at his Mother, she looks straight at the viewer with an expression of melancholic tenderness – a very melancholic face in the line of Diego de Siloé (c.1490-1563) – as if she knows the future destiny that awaits her Son. Both comb their blonde hair, the Child's is composed of infinite curls, while Mary's is made up of wavy strands that fall down her back and are hidden at the front by the curious, elegant and luxurious headdress that covers her head. Also luxurious is the dress she wears, full of abundant folds, and with a circular neckline through which one of her breasts protrudes. Working in thin layers allows the artist to create a rhythm of smooth curved lines when treating the folds. The faces are delicate, displaying a classic taste for idealized beauty.
This relief of the Virgin and Child in the form of a tondo is a very delicate piece, of very high quality and fineness, which combines the Italianate aesthetic with the Castilian, which would indicate that it was made by an important master, perhaps from Burgos, who had either travelled to Italy, or was able to learn about Italian novelties in Spain through the influence of another master. It has great correlation to the medallions of the same subject preserved in the National Museum of Sculpture: one in alabaster by Felipe Bigarny (c.1470-1542) and another in wood that is attributed to Gabriel Yoly (c.1480-1538), although, stylistically speaking, it has little in common with them. Due to the characteristics referred to, the sculpture can be dated to the second quarter of the sixteenth century.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
Images. The Divine and the Human
Auktionsdatum
Lose: 211
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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jeweils zusätzlich USt. / both plus VAT: 21 %
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