45
Catalan or Aragonese school; 13th century.Carved and polychromed wood.It presents important faults
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Description
Catalan or Aragonese school; 13th century.
Carved and polychromed wood.
It presents important faults in the carving and polychromy.
Measurements: 48.2 x 20 x 14 cm.
Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.
Carved and polychromed wood.
It presents important faults in the carving and polychromy.
Measurements: 48.2 x 20 x 14 cm.
Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.
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Catalan or Aragonese school; 13th century.
Carved and polychromed wood.
It presents important faults in the carving and polychromy.
Measurements: 48.2 x 20 x 14 cm.
Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.
Carved and polychromed wood.
It presents important faults in the carving and polychromy.
Measurements: 48.2 x 20 x 14 cm.
Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.
13th October - 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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