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Andalusian or Novo-Hispanic school; 17th century."Immaculate Conception".Oil on canvas.Preserves its
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Beschreibung
Andalusian or Novo-Hispanic school; 17th century.
"Immaculate Conception".
Oil on canvas.
Preserves its original canvas.
It presents repainting.
Measurements: 85,5 x 73,5 cm.
Representation of Mary as Immaculate with the figure of the whole body, standing on a lunar crescent, in which the figure of the snake stands out, in this case conceived by the artist as an animal with fantastic features, from which a bloody tongue comes out. With the exception of these two elements, the image dispenses with the usual litanies and thus features the body or image of the Virgin. Medieval Christianity passionately debated the belief that Mary was conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type, but dispensed with or reduced the symbols of the litanies, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
"Immaculate Conception".
Oil on canvas.
Preserves its original canvas.
It presents repainting.
Measurements: 85,5 x 73,5 cm.
Representation of Mary as Immaculate with the figure of the whole body, standing on a lunar crescent, in which the figure of the snake stands out, in this case conceived by the artist as an animal with fantastic features, from which a bloody tongue comes out. With the exception of these two elements, the image dispenses with the usual litanies and thus features the body or image of the Virgin. Medieval Christianity passionately debated the belief that Mary was conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type, but dispensed with or reduced the symbols of the litanies, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
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Andalusian or Novo-Hispanic school; 17th century.
"Immaculate Conception".
Oil on canvas.
Preserves its original canvas.
It presents repainting.
Measurements: 85,5 x 73,5 cm.
Representation of Mary as Immaculate with the figure of the whole body, standing on a lunar crescent, in which the figure of the snake stands out, in this case conceived by the artist as an animal with fantastic features, from which a bloody tongue comes out. With the exception of these two elements, the image dispenses with the usual litanies and thus features the body or image of the Virgin. Medieval Christianity passionately debated the belief that Mary was conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type, but dispensed with or reduced the symbols of the litanies, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
"Immaculate Conception".
Oil on canvas.
Preserves its original canvas.
It presents repainting.
Measurements: 85,5 x 73,5 cm.
Representation of Mary as Immaculate with the figure of the whole body, standing on a lunar crescent, in which the figure of the snake stands out, in this case conceived by the artist as an animal with fantastic features, from which a bloody tongue comes out. With the exception of these two elements, the image dispenses with the usual litanies and thus features the body or image of the Virgin. Medieval Christianity passionately debated the belief that Mary was conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type, but dispensed with or reduced the symbols of the litanies, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
10th March - Old Masters from America and Europe
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
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