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Seville School. Late 17th century.
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Beschreibung
Seville School. Late 17th century.
"Saint Joseph with the Child"
Oil on canvas. Relined. 125 x 96cm.
Worship of Saint Joseph increased notably in the city of Seville from the end of the 16th century and was consolidated throughout the 17th century, when the exceptional painter Bartolomé Esteban Murillo (1618-1682), often depicted the saint in different iconographies. He eliminated the emotional and sentimental distance that the paintings created in the decades prior to his artistic activity reflected. Murillo was able to create an intense relationship between the Father and the Son, linking them with deep feelings of tenderness and affection. His disciples and imitators managed to maintain this relationship between the two characters until well into the 18th century. This painting is a good example, and to this we must add a notable fact, which is that that it depicts a rather unusual iconography when it comes to Joseph - the Coronation or Glorification of Saint Joseph.
The anonymous painter, a follower of Murillo's aesthetics, has depicted the episode in a rocky landscape, ending on one side in an ancient trunk, on which the two main characters find a seat: Saint Joseph, seated on the right side, gazes lovingly at his Son at the same time as he opens his arms as if he had been surprised by the Child's sudden appearance. He wears a wide purple tunic and a yellow cloak fastened around the neck, classic colours of the saint's iconography. He has been portrayed as a young man with a sparse beard and abundant curly hair. The Christ Child is located on a separate and higher rock, and is standing and looking at us complicitly, so that he invites us into the scene, and blesses his Father at the same time that he goes to deliver the bouquet of lilies that commemorates his victory in the Marriage of the Virgin Mary and also one of his most usual attributes. The Child wears a flowing tunic that exposes a large part of his plump anatomy.
The scene is completed by the Dove of the Holy Spirit placed on the bouquet of lilies and a burst of Glory in the sky from which two little angels emerge who, in daring postures, prepare to place the crown that will glorify Saint Joseph for his role as Nursing Father of the Christ on the saint's head. The golden Glory from which the angels come stands out in striking contrast to the dark cloudy sky that accentuates the main figures in the painting and especially their heads surrounded by a nimbus (Saint Joseph) and radiance (Child Jesus).
The painting has been executed with fluid and precise brushstrokes that perfectly define the volumes of both the characters and the setting. The colour palette is generally earthy, which is why the powerful purples and yellows of the saint and the golds and pinks with which the Child Jesus and the Glory with the angels are painted stand out. The picture would have been painted at the end of the 17th century by an esteemed anonymous Sevillian master who cultivated Murillesque aesthetics, models and types.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
"Saint Joseph with the Child"
Oil on canvas. Relined. 125 x 96cm.
Worship of Saint Joseph increased notably in the city of Seville from the end of the 16th century and was consolidated throughout the 17th century, when the exceptional painter Bartolomé Esteban Murillo (1618-1682), often depicted the saint in different iconographies. He eliminated the emotional and sentimental distance that the paintings created in the decades prior to his artistic activity reflected. Murillo was able to create an intense relationship between the Father and the Son, linking them with deep feelings of tenderness and affection. His disciples and imitators managed to maintain this relationship between the two characters until well into the 18th century. This painting is a good example, and to this we must add a notable fact, which is that that it depicts a rather unusual iconography when it comes to Joseph - the Coronation or Glorification of Saint Joseph.
The anonymous painter, a follower of Murillo's aesthetics, has depicted the episode in a rocky landscape, ending on one side in an ancient trunk, on which the two main characters find a seat: Saint Joseph, seated on the right side, gazes lovingly at his Son at the same time as he opens his arms as if he had been surprised by the Child's sudden appearance. He wears a wide purple tunic and a yellow cloak fastened around the neck, classic colours of the saint's iconography. He has been portrayed as a young man with a sparse beard and abundant curly hair. The Christ Child is located on a separate and higher rock, and is standing and looking at us complicitly, so that he invites us into the scene, and blesses his Father at the same time that he goes to deliver the bouquet of lilies that commemorates his victory in the Marriage of the Virgin Mary and also one of his most usual attributes. The Child wears a flowing tunic that exposes a large part of his plump anatomy.
The scene is completed by the Dove of the Holy Spirit placed on the bouquet of lilies and a burst of Glory in the sky from which two little angels emerge who, in daring postures, prepare to place the crown that will glorify Saint Joseph for his role as Nursing Father of the Christ on the saint's head. The golden Glory from which the angels come stands out in striking contrast to the dark cloudy sky that accentuates the main figures in the painting and especially their heads surrounded by a nimbus (Saint Joseph) and radiance (Child Jesus).
The painting has been executed with fluid and precise brushstrokes that perfectly define the volumes of both the characters and the setting. The colour palette is generally earthy, which is why the powerful purples and yellows of the saint and the golds and pinks with which the Child Jesus and the Glory with the angels are painted stand out. The picture would have been painted at the end of the 17th century by an esteemed anonymous Sevillian master who cultivated Murillesque aesthetics, models and types.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
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Seville School. Late 17th century.
"Saint Joseph with the Child"
Oil on canvas. Relined. 125 x 96cm.
Worship of Saint Joseph increased notably in the city of Seville from the end of the 16th century and was consolidated throughout the 17th century, when the exceptional painter Bartolomé Esteban Murillo (1618-1682), often depicted the saint in different iconographies. He eliminated the emotional and sentimental distance that the paintings created in the decades prior to his artistic activity reflected. Murillo was able to create an intense relationship between the Father and the Son, linking them with deep feelings of tenderness and affection. His disciples and imitators managed to maintain this relationship between the two characters until well into the 18th century. This painting is a good example, and to this we must add a notable fact, which is that that it depicts a rather unusual iconography when it comes to Joseph - the Coronation or Glorification of Saint Joseph.
The anonymous painter, a follower of Murillo's aesthetics, has depicted the episode in a rocky landscape, ending on one side in an ancient trunk, on which the two main characters find a seat: Saint Joseph, seated on the right side, gazes lovingly at his Son at the same time as he opens his arms as if he had been surprised by the Child's sudden appearance. He wears a wide purple tunic and a yellow cloak fastened around the neck, classic colours of the saint's iconography. He has been portrayed as a young man with a sparse beard and abundant curly hair. The Christ Child is located on a separate and higher rock, and is standing and looking at us complicitly, so that he invites us into the scene, and blesses his Father at the same time that he goes to deliver the bouquet of lilies that commemorates his victory in the Marriage of the Virgin Mary and also one of his most usual attributes. The Child wears a flowing tunic that exposes a large part of his plump anatomy.
The scene is completed by the Dove of the Holy Spirit placed on the bouquet of lilies and a burst of Glory in the sky from which two little angels emerge who, in daring postures, prepare to place the crown that will glorify Saint Joseph for his role as Nursing Father of the Christ on the saint's head. The golden Glory from which the angels come stands out in striking contrast to the dark cloudy sky that accentuates the main figures in the painting and especially their heads surrounded by a nimbus (Saint Joseph) and radiance (Child Jesus).
The painting has been executed with fluid and precise brushstrokes that perfectly define the volumes of both the characters and the setting. The colour palette is generally earthy, which is why the powerful purples and yellows of the saint and the golds and pinks with which the Child Jesus and the Glory with the angels are painted stand out. The picture would have been painted at the end of the 17th century by an esteemed anonymous Sevillian master who cultivated Murillesque aesthetics, models and types.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
"Saint Joseph with the Child"
Oil on canvas. Relined. 125 x 96cm.
Worship of Saint Joseph increased notably in the city of Seville from the end of the 16th century and was consolidated throughout the 17th century, when the exceptional painter Bartolomé Esteban Murillo (1618-1682), often depicted the saint in different iconographies. He eliminated the emotional and sentimental distance that the paintings created in the decades prior to his artistic activity reflected. Murillo was able to create an intense relationship between the Father and the Son, linking them with deep feelings of tenderness and affection. His disciples and imitators managed to maintain this relationship between the two characters until well into the 18th century. This painting is a good example, and to this we must add a notable fact, which is that that it depicts a rather unusual iconography when it comes to Joseph - the Coronation or Glorification of Saint Joseph.
The anonymous painter, a follower of Murillo's aesthetics, has depicted the episode in a rocky landscape, ending on one side in an ancient trunk, on which the two main characters find a seat: Saint Joseph, seated on the right side, gazes lovingly at his Son at the same time as he opens his arms as if he had been surprised by the Child's sudden appearance. He wears a wide purple tunic and a yellow cloak fastened around the neck, classic colours of the saint's iconography. He has been portrayed as a young man with a sparse beard and abundant curly hair. The Christ Child is located on a separate and higher rock, and is standing and looking at us complicitly, so that he invites us into the scene, and blesses his Father at the same time that he goes to deliver the bouquet of lilies that commemorates his victory in the Marriage of the Virgin Mary and also one of his most usual attributes. The Child wears a flowing tunic that exposes a large part of his plump anatomy.
The scene is completed by the Dove of the Holy Spirit placed on the bouquet of lilies and a burst of Glory in the sky from which two little angels emerge who, in daring postures, prepare to place the crown that will glorify Saint Joseph for his role as Nursing Father of the Christ on the saint's head. The golden Glory from which the angels come stands out in striking contrast to the dark cloudy sky that accentuates the main figures in the painting and especially their heads surrounded by a nimbus (Saint Joseph) and radiance (Child Jesus).
The painting has been executed with fluid and precise brushstrokes that perfectly define the volumes of both the characters and the setting. The colour palette is generally earthy, which is why the powerful purples and yellows of the saint and the golds and pinks with which the Child Jesus and the Glory with the angels are painted stand out. The picture would have been painted at the end of the 17th century by an esteemed anonymous Sevillian master who cultivated Murillesque aesthetics, models and types.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Legends, Myths and Symbols
Auktionsdatum
Lose: 162
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
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AGB
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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