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Valencian school, late 17th century, early 18th century."Pietà".Oil on canvas.Measurements: 79,5 x
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Description
Valencian school, late 17th century, early 18th century.
"Pietà".
Oil on canvas.
Measurements: 79,5 x 96,5 cm.
In this work of devotional character, the author represents the Pietà, placing the Virgin and the body of Jesus in the centre, with a triangular composition. Christ's anatomy, which is perfectly described and of sought-after classicism, is no doubt derived from observation from life, while the Virgin's clothing, with its angular drapery, lends a sense of theatricality to the piece. In addition, the elements of the Passion can be seen, such as the crown of thorns, the nails and the cross, although we can only see the lower part of the cross and can only guess at the rest. The entire scene plays with light and shadow, showing only the elements relevant to the scene and leaving a dark landscape as a background. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting.
"Pietà".
Oil on canvas.
Measurements: 79,5 x 96,5 cm.
In this work of devotional character, the author represents the Pietà, placing the Virgin and the body of Jesus in the centre, with a triangular composition. Christ's anatomy, which is perfectly described and of sought-after classicism, is no doubt derived from observation from life, while the Virgin's clothing, with its angular drapery, lends a sense of theatricality to the piece. In addition, the elements of the Passion can be seen, such as the crown of thorns, the nails and the cross, although we can only see the lower part of the cross and can only guess at the rest. The entire scene plays with light and shadow, showing only the elements relevant to the scene and leaving a dark landscape as a background. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting.
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Valencian school, late 17th century, early 18th century.
"Pietà".
Oil on canvas.
Measurements: 79,5 x 96,5 cm.
In this work of devotional character, the author represents the Pietà, placing the Virgin and the body of Jesus in the centre, with a triangular composition. Christ's anatomy, which is perfectly described and of sought-after classicism, is no doubt derived from observation from life, while the Virgin's clothing, with its angular drapery, lends a sense of theatricality to the piece. In addition, the elements of the Passion can be seen, such as the crown of thorns, the nails and the cross, although we can only see the lower part of the cross and can only guess at the rest. The entire scene plays with light and shadow, showing only the elements relevant to the scene and leaving a dark landscape as a background. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting.
"Pietà".
Oil on canvas.
Measurements: 79,5 x 96,5 cm.
In this work of devotional character, the author represents the Pietà, placing the Virgin and the body of Jesus in the centre, with a triangular composition. Christ's anatomy, which is perfectly described and of sought-after classicism, is no doubt derived from observation from life, while the Virgin's clothing, with its angular drapery, lends a sense of theatricality to the piece. In addition, the elements of the Passion can be seen, such as the crown of thorns, the nails and the cross, although we can only see the lower part of the cross and can only guess at the rest. The entire scene plays with light and shadow, showing only the elements relevant to the scene and leaving a dark landscape as a background. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting.
28th September - Old Masters
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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