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Possibly Valencian School. First third of the 17th century.
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Description
Possibly Valencian School. First third of the 17th century.
"The embrace of Saint Francis and Saint Dominic"
Oil on canvas. 119.5 x 100cm.
The theme of the embrace of Saint Francis and Saint Dominic, founders of the Franciscans and Dominicans, respectively, was widespread iconography in the monasteries of both orders, both in pictorial and sculptural representations. Legend has it that Saint Dominic coincided with Saint Francis at mass in a church in Rome and that he told him: “You are my companion. We will work together, supporting one another toward the same end, and no one will prevail against us." Therefore, the aforementioned embrace, whether historical or legendary, came to represent the twinning of both missionary orders, apostolic and mendicant.
The painting depicts this episode, but not as usual with the two saints standing up embracing, but with the peculiarity that both saints are kneeling and between them is the Cross of Christ, which both served wholeheartedly. Undoubtedly, this iconographic rarity adds extra value to the canvas. The anonymous painter has arranged the monumental effigies of both kneeling saints in the foreground (Saint Dominic on the left, which could indicate that it was commissioned by a monastery or a private individual with particular affection for the cause of the Preachers, and Saint Francis on the right), and embracing each other. Between them is a cross that takes up the entire height of the canvas. The shape that both saints make up is triangular, this geometric shape is reinforced through inclined planes delineated by the trees that close the composition at the sides. In between, a cloudy sky can be seen, and below, in the distance, what appears to be a hill crowned by ruined architecture that provides the canvas with a vanishing point and the sensation of depth.
Both saints are dressed in the habits of their respective Orders – Saint Dominic wears the two-toned habit made up of a white tunic and scapular and a black cloak, and Saint Francis wears a simple brown serge sackcloth tied at the waist by a Franciscan cord. The figures have rounded shapes, quasi-sculptural in appearance, and are constructed with precise and correct drawing. They place their hands on each other's shoulders, and it is possible to observe the stigmata on Saint Francis' hand. The stylized fingers are meticulously painted, as are the heads, with small, tight brushstrokes that define the facial features and hairstyles, or rather tonsures. The faces, with angular features and pointed profiles, are accurately captured, although their countenances are expressionless. The painter has used earthy colours with warm tones, in which browns and dark blues predominate, as well as white and black. Due to the way both figures have been conceived, the leaves of the trees, and some details such as the landscape that is lost in the distance, it could well be a canvas produced in a Valencian or Aragonese workshop, from the first Realist period, dateable therefore to the first third of the seventeenth century.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
"The embrace of Saint Francis and Saint Dominic"
Oil on canvas. 119.5 x 100cm.
The theme of the embrace of Saint Francis and Saint Dominic, founders of the Franciscans and Dominicans, respectively, was widespread iconography in the monasteries of both orders, both in pictorial and sculptural representations. Legend has it that Saint Dominic coincided with Saint Francis at mass in a church in Rome and that he told him: “You are my companion. We will work together, supporting one another toward the same end, and no one will prevail against us." Therefore, the aforementioned embrace, whether historical or legendary, came to represent the twinning of both missionary orders, apostolic and mendicant.
The painting depicts this episode, but not as usual with the two saints standing up embracing, but with the peculiarity that both saints are kneeling and between them is the Cross of Christ, which both served wholeheartedly. Undoubtedly, this iconographic rarity adds extra value to the canvas. The anonymous painter has arranged the monumental effigies of both kneeling saints in the foreground (Saint Dominic on the left, which could indicate that it was commissioned by a monastery or a private individual with particular affection for the cause of the Preachers, and Saint Francis on the right), and embracing each other. Between them is a cross that takes up the entire height of the canvas. The shape that both saints make up is triangular, this geometric shape is reinforced through inclined planes delineated by the trees that close the composition at the sides. In between, a cloudy sky can be seen, and below, in the distance, what appears to be a hill crowned by ruined architecture that provides the canvas with a vanishing point and the sensation of depth.
Both saints are dressed in the habits of their respective Orders – Saint Dominic wears the two-toned habit made up of a white tunic and scapular and a black cloak, and Saint Francis wears a simple brown serge sackcloth tied at the waist by a Franciscan cord. The figures have rounded shapes, quasi-sculptural in appearance, and are constructed with precise and correct drawing. They place their hands on each other's shoulders, and it is possible to observe the stigmata on Saint Francis' hand. The stylized fingers are meticulously painted, as are the heads, with small, tight brushstrokes that define the facial features and hairstyles, or rather tonsures. The faces, with angular features and pointed profiles, are accurately captured, although their countenances are expressionless. The painter has used earthy colours with warm tones, in which browns and dark blues predominate, as well as white and black. Due to the way both figures have been conceived, the leaves of the trees, and some details such as the landscape that is lost in the distance, it could well be a canvas produced in a Valencian or Aragonese workshop, from the first Realist period, dateable therefore to the first third of the seventeenth century.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
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Possibly Valencian School. First third of the 17th century.
"The embrace of Saint Francis and Saint Dominic"
Oil on canvas. 119.5 x 100cm.
The theme of the embrace of Saint Francis and Saint Dominic, founders of the Franciscans and Dominicans, respectively, was widespread iconography in the monasteries of both orders, both in pictorial and sculptural representations. Legend has it that Saint Dominic coincided with Saint Francis at mass in a church in Rome and that he told him: “You are my companion. We will work together, supporting one another toward the same end, and no one will prevail against us." Therefore, the aforementioned embrace, whether historical or legendary, came to represent the twinning of both missionary orders, apostolic and mendicant.
The painting depicts this episode, but not as usual with the two saints standing up embracing, but with the peculiarity that both saints are kneeling and between them is the Cross of Christ, which both served wholeheartedly. Undoubtedly, this iconographic rarity adds extra value to the canvas. The anonymous painter has arranged the monumental effigies of both kneeling saints in the foreground (Saint Dominic on the left, which could indicate that it was commissioned by a monastery or a private individual with particular affection for the cause of the Preachers, and Saint Francis on the right), and embracing each other. Between them is a cross that takes up the entire height of the canvas. The shape that both saints make up is triangular, this geometric shape is reinforced through inclined planes delineated by the trees that close the composition at the sides. In between, a cloudy sky can be seen, and below, in the distance, what appears to be a hill crowned by ruined architecture that provides the canvas with a vanishing point and the sensation of depth.
Both saints are dressed in the habits of their respective Orders – Saint Dominic wears the two-toned habit made up of a white tunic and scapular and a black cloak, and Saint Francis wears a simple brown serge sackcloth tied at the waist by a Franciscan cord. The figures have rounded shapes, quasi-sculptural in appearance, and are constructed with precise and correct drawing. They place their hands on each other's shoulders, and it is possible to observe the stigmata on Saint Francis' hand. The stylized fingers are meticulously painted, as are the heads, with small, tight brushstrokes that define the facial features and hairstyles, or rather tonsures. The faces, with angular features and pointed profiles, are accurately captured, although their countenances are expressionless. The painter has used earthy colours with warm tones, in which browns and dark blues predominate, as well as white and black. Due to the way both figures have been conceived, the leaves of the trees, and some details such as the landscape that is lost in the distance, it could well be a canvas produced in a Valencian or Aragonese workshop, from the first Realist period, dateable therefore to the first third of the seventeenth century.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
"The embrace of Saint Francis and Saint Dominic"
Oil on canvas. 119.5 x 100cm.
The theme of the embrace of Saint Francis and Saint Dominic, founders of the Franciscans and Dominicans, respectively, was widespread iconography in the monasteries of both orders, both in pictorial and sculptural representations. Legend has it that Saint Dominic coincided with Saint Francis at mass in a church in Rome and that he told him: “You are my companion. We will work together, supporting one another toward the same end, and no one will prevail against us." Therefore, the aforementioned embrace, whether historical or legendary, came to represent the twinning of both missionary orders, apostolic and mendicant.
The painting depicts this episode, but not as usual with the two saints standing up embracing, but with the peculiarity that both saints are kneeling and between them is the Cross of Christ, which both served wholeheartedly. Undoubtedly, this iconographic rarity adds extra value to the canvas. The anonymous painter has arranged the monumental effigies of both kneeling saints in the foreground (Saint Dominic on the left, which could indicate that it was commissioned by a monastery or a private individual with particular affection for the cause of the Preachers, and Saint Francis on the right), and embracing each other. Between them is a cross that takes up the entire height of the canvas. The shape that both saints make up is triangular, this geometric shape is reinforced through inclined planes delineated by the trees that close the composition at the sides. In between, a cloudy sky can be seen, and below, in the distance, what appears to be a hill crowned by ruined architecture that provides the canvas with a vanishing point and the sensation of depth.
Both saints are dressed in the habits of their respective Orders – Saint Dominic wears the two-toned habit made up of a white tunic and scapular and a black cloak, and Saint Francis wears a simple brown serge sackcloth tied at the waist by a Franciscan cord. The figures have rounded shapes, quasi-sculptural in appearance, and are constructed with precise and correct drawing. They place their hands on each other's shoulders, and it is possible to observe the stigmata on Saint Francis' hand. The stylized fingers are meticulously painted, as are the heads, with small, tight brushstrokes that define the facial features and hairstyles, or rather tonsures. The faces, with angular features and pointed profiles, are accurately captured, although their countenances are expressionless. The painter has used earthy colours with warm tones, in which browns and dark blues predominate, as well as white and black. Due to the way both figures have been conceived, the leaves of the trees, and some details such as the landscape that is lost in the distance, it could well be a canvas produced in a Valencian or Aragonese workshop, from the first Realist period, dateable therefore to the first third of the seventeenth century.
We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
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Lots: 162
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From 50.-€ to 200.-€…………………………………………..at 10.-€
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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.-€
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