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Spanish School, Antonio Arias Circle; 17th century."Salvador Mundi".Oil on canvas. Antique re-
1/5
Description
Spanish School, Antonio Arias Circle; 17th century.
"Salvador Mundi".
Oil on canvas. Antique re-colouring.
It has slight faults in the lower part of the painting.
It has an informative label on the back.
Measurements: 121 x 96 cm; 139 x 115 cm (frame).
This piece has an old attribution on the back which specifies that the work was painted by the artist Antonio Arias Fernández (Madrid, 1614-1684). It is true that the composition and technical treatment of the work are somewhat reminiscent of Arias's style, although it may well be the product of his workshop or of a follower who was familiar with the work of the aforementioned painter.
"Salvator Mundi" is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratism of this theme of Byzantine heritage, although it is true that in this particular case, the figure is slightly turned three-quarters of the way round.
On a formal level, however, the naturalism of the period is evident, if not in the ideal, somewhat geometrical face, then in the treatment of the clothes and, especially, the orb, thus combining the symbolic and ideal Byzantine tradition with the appreciation of detail and realism typical of the Flemish school.
"Salvador Mundi".
Oil on canvas. Antique re-colouring.
It has slight faults in the lower part of the painting.
It has an informative label on the back.
Measurements: 121 x 96 cm; 139 x 115 cm (frame).
This piece has an old attribution on the back which specifies that the work was painted by the artist Antonio Arias Fernández (Madrid, 1614-1684). It is true that the composition and technical treatment of the work are somewhat reminiscent of Arias's style, although it may well be the product of his workshop or of a follower who was familiar with the work of the aforementioned painter.
"Salvator Mundi" is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratism of this theme of Byzantine heritage, although it is true that in this particular case, the figure is slightly turned three-quarters of the way round.
On a formal level, however, the naturalism of the period is evident, if not in the ideal, somewhat geometrical face, then in the treatment of the clothes and, especially, the orb, thus combining the symbolic and ideal Byzantine tradition with the appreciation of detail and realism typical of the Flemish school.
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Spanish School, Antonio Arias Circle; 17th century.
"Salvador Mundi".
Oil on canvas. Antique re-colouring.
It has slight faults in the lower part of the painting.
It has an informative label on the back.
Measurements: 121 x 96 cm; 139 x 115 cm (frame).
This piece has an old attribution on the back which specifies that the work was painted by the artist Antonio Arias Fernández (Madrid, 1614-1684). It is true that the composition and technical treatment of the work are somewhat reminiscent of Arias's style, although it may well be the product of his workshop or of a follower who was familiar with the work of the aforementioned painter.
"Salvator Mundi" is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratism of this theme of Byzantine heritage, although it is true that in this particular case, the figure is slightly turned three-quarters of the way round.
On a formal level, however, the naturalism of the period is evident, if not in the ideal, somewhat geometrical face, then in the treatment of the clothes and, especially, the orb, thus combining the symbolic and ideal Byzantine tradition with the appreciation of detail and realism typical of the Flemish school.
"Salvador Mundi".
Oil on canvas. Antique re-colouring.
It has slight faults in the lower part of the painting.
It has an informative label on the back.
Measurements: 121 x 96 cm; 139 x 115 cm (frame).
This piece has an old attribution on the back which specifies that the work was painted by the artist Antonio Arias Fernández (Madrid, 1614-1684). It is true that the composition and technical treatment of the work are somewhat reminiscent of Arias's style, although it may well be the product of his workshop or of a follower who was familiar with the work of the aforementioned painter.
"Salvator Mundi" is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratism of this theme of Byzantine heritage, although it is true that in this particular case, the figure is slightly turned three-quarters of the way round.
On a formal level, however, the naturalism of the period is evident, if not in the ideal, somewhat geometrical face, then in the treatment of the clothes and, especially, the orb, thus combining the symbolic and ideal Byzantine tradition with the appreciation of detail and realism typical of the Flemish school.
28th September - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
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