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Andalusian school, following models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682); 18th
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Description
Andalusian school, following models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682); 18th century.
"Saint Joseph with Child".
Oil on canvas.
It has a 20th century frame, following 17th century models.
Measurements: 97 x 65 cm; 112 x 89 cm (frame).
This painting is directly inspired by the canvas currently conserved in the Lázaro Galdiano Museum in Madrid, a work from Murillo's workshop. The work shows Saint Joseph, identified by the flowering rod, seated with the Child on his lap, in a family scene full of tenderness typical of the Sevillian master. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as he was not accorded any theological importance. After Trent, 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. Through this form of representation, the artist visually emphasises the decisive role of the putative father of Jesus as his protector.
Considered by some to be the painter who best defines the Spanish Baroque, Bartolomé Esteban Murillo exerted a notable influence on his Sevillian contemporaries and, after his death, his influence can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during the Romantic period numerous copies of his works were made. However, it was in the Baroque period of the 18th century that the importance of his influence, spread by his numerous disciples and followers, was most evident. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work dating from the end of the 17th century. In the last decades of the 17th century, Murillo's emotional, sweet and delicate sentimentality prevailed in Seville over the more dramatic one of Valdés Leal, hence the predominance of his influence in the following century. As time went on, however, we find an increasingly superficial influence, focused on imitating models and compositions but leaving aside his plastic language in favour of formulas more typical of the new century.
"Saint Joseph with Child".
Oil on canvas.
It has a 20th century frame, following 17th century models.
Measurements: 97 x 65 cm; 112 x 89 cm (frame).
This painting is directly inspired by the canvas currently conserved in the Lázaro Galdiano Museum in Madrid, a work from Murillo's workshop. The work shows Saint Joseph, identified by the flowering rod, seated with the Child on his lap, in a family scene full of tenderness typical of the Sevillian master. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as he was not accorded any theological importance. After Trent, 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. Through this form of representation, the artist visually emphasises the decisive role of the putative father of Jesus as his protector.
Considered by some to be the painter who best defines the Spanish Baroque, Bartolomé Esteban Murillo exerted a notable influence on his Sevillian contemporaries and, after his death, his influence can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during the Romantic period numerous copies of his works were made. However, it was in the Baroque period of the 18th century that the importance of his influence, spread by his numerous disciples and followers, was most evident. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work dating from the end of the 17th century. In the last decades of the 17th century, Murillo's emotional, sweet and delicate sentimentality prevailed in Seville over the more dramatic one of Valdés Leal, hence the predominance of his influence in the following century. As time went on, however, we find an increasingly superficial influence, focused on imitating models and compositions but leaving aside his plastic language in favour of formulas more typical of the new century.
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Andalusian school, following models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682); 18th century.
"Saint Joseph with Child".
Oil on canvas.
It has a 20th century frame, following 17th century models.
Measurements: 97 x 65 cm; 112 x 89 cm (frame).
This painting is directly inspired by the canvas currently conserved in the Lázaro Galdiano Museum in Madrid, a work from Murillo's workshop. The work shows Saint Joseph, identified by the flowering rod, seated with the Child on his lap, in a family scene full of tenderness typical of the Sevillian master. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as he was not accorded any theological importance. After Trent, 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. Through this form of representation, the artist visually emphasises the decisive role of the putative father of Jesus as his protector.
Considered by some to be the painter who best defines the Spanish Baroque, Bartolomé Esteban Murillo exerted a notable influence on his Sevillian contemporaries and, after his death, his influence can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during the Romantic period numerous copies of his works were made. However, it was in the Baroque period of the 18th century that the importance of his influence, spread by his numerous disciples and followers, was most evident. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work dating from the end of the 17th century. In the last decades of the 17th century, Murillo's emotional, sweet and delicate sentimentality prevailed in Seville over the more dramatic one of Valdés Leal, hence the predominance of his influence in the following century. As time went on, however, we find an increasingly superficial influence, focused on imitating models and compositions but leaving aside his plastic language in favour of formulas more typical of the new century.
"Saint Joseph with Child".
Oil on canvas.
It has a 20th century frame, following 17th century models.
Measurements: 97 x 65 cm; 112 x 89 cm (frame).
This painting is directly inspired by the canvas currently conserved in the Lázaro Galdiano Museum in Madrid, a work from Murillo's workshop. The work shows Saint Joseph, identified by the flowering rod, seated with the Child on his lap, in a family scene full of tenderness typical of the Sevillian master. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as he was not accorded any theological importance. After Trent, 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. Through this form of representation, the artist visually emphasises the decisive role of the putative father of Jesus as his protector.
Considered by some to be the painter who best defines the Spanish Baroque, Bartolomé Esteban Murillo exerted a notable influence on his Sevillian contemporaries and, after his death, his influence can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during the Romantic period numerous copies of his works were made. However, it was in the Baroque period of the 18th century that the importance of his influence, spread by his numerous disciples and followers, was most evident. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work dating from the end of the 17th century. In the last decades of the 17th century, Murillo's emotional, sweet and delicate sentimentality prevailed in Seville over the more dramatic one of Valdés Leal, hence the predominance of his influence in the following century. As time went on, however, we find an increasingly superficial influence, focused on imitating models and compositions but leaving aside his plastic language in favour of formulas more typical of the new century.
28th September - Old Masters
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Carrer de Cirilo Amorós 55, Valencia
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