56
Spanish school; 17th century."Mary Magdalene and Mary of Cleophas at Calvary".Carved and polychromed
1/5
Beschreibung
Spanish school; 17th century.
"Mary Magdalene and Mary of Cleophas at Calvary".
Carved and polychromed wood.
They present faults in the carving and polychromy.
Measurements: 23 x 24 x 93 cm; 23 x 21 x 13 x 13 cm.
Sculptural group made in wood representing the figure of two of the three Marys; Mary Magdalene, and Mary of Cleophas. The two sculptures have a similar gesture, seated, dressed in large cloaks that form a multitude of folds and with an attitude of heaviness reflected in their faces. Although both have many similarities, it is in the aforementioned gesture where they differ, as one holds a handkerchief towards her face to wipe her tears, while the other covers her face with both hands.
Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
"Mary Magdalene and Mary of Cleophas at Calvary".
Carved and polychromed wood.
They present faults in the carving and polychromy.
Measurements: 23 x 24 x 93 cm; 23 x 21 x 13 x 13 cm.
Sculptural group made in wood representing the figure of two of the three Marys; Mary Magdalene, and Mary of Cleophas. The two sculptures have a similar gesture, seated, dressed in large cloaks that form a multitude of folds and with an attitude of heaviness reflected in their faces. Although both have many similarities, it is in the aforementioned gesture where they differ, as one holds a handkerchief towards her face to wipe her tears, while the other covers her face with both hands.
Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
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Spanish school; 17th century.
"Mary Magdalene and Mary of Cleophas at Calvary".
Carved and polychromed wood.
They present faults in the carving and polychromy.
Measurements: 23 x 24 x 93 cm; 23 x 21 x 13 x 13 cm.
Sculptural group made in wood representing the figure of two of the three Marys; Mary Magdalene, and Mary of Cleophas. The two sculptures have a similar gesture, seated, dressed in large cloaks that form a multitude of folds and with an attitude of heaviness reflected in their faces. Although both have many similarities, it is in the aforementioned gesture where they differ, as one holds a handkerchief towards her face to wipe her tears, while the other covers her face with both hands.
Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
"Mary Magdalene and Mary of Cleophas at Calvary".
Carved and polychromed wood.
They present faults in the carving and polychromy.
Measurements: 23 x 24 x 93 cm; 23 x 21 x 13 x 13 cm.
Sculptural group made in wood representing the figure of two of the three Marys; Mary Magdalene, and Mary of Cleophas. The two sculptures have a similar gesture, seated, dressed in large cloaks that form a multitude of folds and with an attitude of heaviness reflected in their faces. Although both have many similarities, it is in the aforementioned gesture where they differ, as one holds a handkerchief towards her face to wipe her tears, while the other covers her face with both hands.
Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
9th March - Old Masters
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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