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Novo-Hispanic school; 17th century."Saint Joseph with Child".Oil on copper.It presents slight
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Beschreibung
Novo-Hispanic school; 17th century.
"Saint Joseph with Child".
Oil on copper.
It presents slight losses, repainting and restorations.
Measurements: 23 x 17,5 cm.
Placed in an exterior of classic inspiration, the author presents the figure of Saint Joseph next to his son. The little Jesus is standing on a stone bench, dressed only in the cloth of purity, looking at the spectator, conveying, despite his childish innocence, his relevance in the Christian religion. Joseph, standing next to his son, gives him a tender embrace, trying to gather him into his lap, and gives him a look of admiration and affection. Until the Counter-Reformation, the figure of St Joseph was usually relegated to the background, as he was not accorded any theological importance. From Trent onwards, however, his leading role as Jesus' protector during his childhood and as a guide during his youth was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Saint Joseph with Child".
Oil on copper.
It presents slight losses, repainting and restorations.
Measurements: 23 x 17,5 cm.
Placed in an exterior of classic inspiration, the author presents the figure of Saint Joseph next to his son. The little Jesus is standing on a stone bench, dressed only in the cloth of purity, looking at the spectator, conveying, despite his childish innocence, his relevance in the Christian religion. Joseph, standing next to his son, gives him a tender embrace, trying to gather him into his lap, and gives him a look of admiration and affection. Until the Counter-Reformation, the figure of St Joseph was usually relegated to the background, as he was not accorded any theological importance. From Trent onwards, however, his leading role as Jesus' protector during his childhood and as a guide during his youth was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
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Novo-Hispanic school; 17th century.
"Saint Joseph with Child".
Oil on copper.
It presents slight losses, repainting and restorations.
Measurements: 23 x 17,5 cm.
Placed in an exterior of classic inspiration, the author presents the figure of Saint Joseph next to his son. The little Jesus is standing on a stone bench, dressed only in the cloth of purity, looking at the spectator, conveying, despite his childish innocence, his relevance in the Christian religion. Joseph, standing next to his son, gives him a tender embrace, trying to gather him into his lap, and gives him a look of admiration and affection. Until the Counter-Reformation, the figure of St Joseph was usually relegated to the background, as he was not accorded any theological importance. From Trent onwards, however, his leading role as Jesus' protector during his childhood and as a guide during his youth was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Saint Joseph with Child".
Oil on copper.
It presents slight losses, repainting and restorations.
Measurements: 23 x 17,5 cm.
Placed in an exterior of classic inspiration, the author presents the figure of Saint Joseph next to his son. The little Jesus is standing on a stone bench, dressed only in the cloth of purity, looking at the spectator, conveying, despite his childish innocence, his relevance in the Christian religion. Joseph, standing next to his son, gives him a tender embrace, trying to gather him into his lap, and gives him a look of admiration and affection. Until the Counter-Reformation, the figure of St Joseph was usually relegated to the background, as he was not accorded any theological importance. From Trent onwards, however, his leading role as Jesus' protector during his childhood and as a guide during his youth was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
10th March - Old Masters from America and Europe
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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