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Castillian School. Burgos. Renaissance. Third quarter of the 16th century.
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Description
Castillian School. Burgos or Valladolid. Renaissance. 16th century.
"Saint Anne Trinitarian or Saint Anne, the Virgin Mary and the Child"
Carved, gilded and polychromed wooden sculpture.
72 x 36 x 28 cm
The iconography of Saint Anne, the Virgin, and the Child - also known as the Saint Anne Trinitarian, or "the three generations" - anticipates the idea of the Immaculate Conception of Mary, as does the Tree of Jesse, the Holy Kinship - a simplification of the Tree of Jesse - or the Embrace at the Golden Gate. It enjoyed great popularity during the Middle Ages, starting to spread in the late 13th century, reaching its peak of popularity in the late 15th century, and remaining relevant until its dissolution after the Council of Trent (1545-1563), when another type of spirituality was chosen.
The sculptural group in question was probably created sometime after the Council of Trent, making it one of the last versions of this theme made in Castile. If during the Middle Ages the most common way to arrange the three figures was to superimpose them, in this case, already within an advanced Renaissance, or almost Romanist Mannerism. We find Saint Anne and the Virgin seated at the same level, with the Child Jesus between them, held by both. It is likely that this group was sculpted for an altarpiece, as the back is left uncarved and unpainted.
Saint Anne occupies the right side, as viewed by the spectator, and holds her grandchild from behind, pulling his right knee backwards. The Virgin Mary is on the left and also holds her son from behind, also by one of his knees. Both female figures, with robust figures, lean their bodies back and gaze directly at the viewer with a stern expression. They wear voluminous garments: tunics and mantles, and in the case of Saint Anne, a white veil frames her face and covers her hair. In the case of the Virgin, her head has clear classical resonances, with her hair tied back with a diadem and composed of undulating locks of bulky modelling framing her face and reaching down to her chest. The Christ Child, who is in his grandmother's lap, opens his arms and turns to jump towards his mother. He is completely naked and has plump anatomy and a hairstyle composed of golden curls. Unlike his relatives, who as we saw had a severe expression, the Child looks at his mother and displays a wide smile.
The three characters are conceived with considerable monumentality, aided, no doubt, by the way the thick and bulky drapery is conceived, with voluminous folds that in the lower parts reach great volume, forming large hollows. Monumentality, combined with the severity of the gesture we have already mentioned, were two of the main characteristics of the artistic style that emerged after the execution of the main altarpiece of the Cathedral of Astorga (1558-1562) by the multifaceted artist from Jaén, Gaspar Becerra (1520-1568): Romanist Mannerism or Romanism.
The notable technical quality of the group is evident in the modelling of the characters; in the portrayal of advanced age in the face of Saint Anne, which differs from the smoothness evident in that of her daughter; and also in the polychromy, which consists of flat tones for the garments with gilded decorations in sgraffito with vegetation and geometric motifs. The creator would have been an important Castilian sculptor, perhaps from the Burgos area, from the third quarter of the 16th century, already adhering to the Romanist trend.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this work.
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Castillian School. Burgos or Valladolid. Renaissance. 16th century.
"Saint Anne Trinitarian or Saint Anne, the Virgin Mary and the Child"
Carved, gilded and polychromed wooden sculpture.
72 x 36 x 28 cm
The iconography of Saint Anne, the Virgin, and the Child - also known as the Saint Anne Trinitarian, or "the three generations" - anticipates the idea of the Immaculate Conception of Mary, as does the Tree of Jesse, the Holy Kinship - a simplification of the Tree of Jesse - or the Embrace at the Golden Gate. It enjoyed great popularity during the Middle Ages, starting to spread in the late 13th century, reaching its peak of popularity in the late 15th century, and remaining relevant until its dissolution after the Council of Trent (1545-1563), when another type of spirituality was chosen.
The sculptural group in question was probably created sometime after the Council of Trent, making it one of the last versions of this theme made in Castile. If during the Middle Ages the most common way to arrange the three figures was to superimpose them, in this case, already within an advanced Renaissance, or almost Romanist Mannerism. We find Saint Anne and the Virgin seated at the same level, with the Child Jesus between them, held by both. It is likely that this group was sculpted for an altarpiece, as the back is left uncarved and unpainted.
Saint Anne occupies the right side, as viewed by the spectator, and holds her grandchild from behind, pulling his right knee backwards. The Virgin Mary is on the left and also holds her son from behind, also by one of his knees. Both female figures, with robust figures, lean their bodies back and gaze directly at the viewer with a stern expression. They wear voluminous garments: tunics and mantles, and in the case of Saint Anne, a white veil frames her face and covers her hair. In the case of the Virgin, her head has clear classical resonances, with her hair tied back with a diadem and composed of undulating locks of bulky modelling framing her face and reaching down to her chest. The Christ Child, who is in his grandmother's lap, opens his arms and turns to jump towards his mother. He is completely naked and has plump anatomy and a hairstyle composed of golden curls. Unlike his relatives, who as we saw had a severe expression, the Child looks at his mother and displays a wide smile.
The three characters are conceived with considerable monumentality, aided, no doubt, by the way the thick and bulky drapery is conceived, with voluminous folds that in the lower parts reach great volume, forming large hollows. Monumentality, combined with the severity of the gesture we have already mentioned, were two of the main characteristics of the artistic style that emerged after the execution of the main altarpiece of the Cathedral of Astorga (1558-1562) by the multifaceted artist from Jaén, Gaspar Becerra (1520-1568): Romanist Mannerism or Romanism.
The notable technical quality of the group is evident in the modelling of the characters; in the portrayal of advanced age in the face of Saint Anne, which differs from the smoothness evident in that of her daughter; and also in the polychromy, which consists of flat tones for the garments with gilded decorations in sgraffito with vegetation and geometric motifs. The creator would have been an important Castilian sculptor, perhaps from the Burgos area, from the third quarter of the 16th century, already adhering to the Romanist trend.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this work.
Y nos dieron las 100...
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Lots: 84
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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.
Important Information
This auction brings us to number 100!
On this special occasion, we present a careful selection of European and New Spanish works, including a previously unpublished painting by Luca Giordano, a magnificent private collection of medieval Spanish sculpture and wonderful examples of painting and sculpture from Spanish America art among other.
We hope you enjoy it as much as we did preparing it.
With our thanks to all those who have made it possible for us to get this far.
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