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Spanish school; 17th century."Christ of Burgos".Oil on canvas. Re-coloured.It presents
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Description
Spanish school; 17th century.
"Christ of Burgos".
Oil on canvas. Re-coloured.
It presents restorations and repainting.
Measurements: 194 x 110 cm; 196 x 111,5 cm (frame).
Representation in painting of the Christ of Burgos, characterised by the eggs that adorn the base of his cross. The original sculpture, from which the present painting derives, is housed in the Chapel of the Holy Christ of Brugos in Burgos Cathedral. These eggs symbolise the seagull's nest that the cross of Christ had when it was found floating on the waves by a Burgos merchant. Over the years, parishioners continued to send eggs to Christ. It is a miraculous image, highly venerated since ancient times, as the merchants from Burgos founded chapels in Bruges and Antwerp, and the Augustinians spread his devotion throughout Spain and Latin America. Consequently, her cult multiplied with engravings and engravings, always with the iconography of the distinctive skirt that almost completely covers her legs.
In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background appears totally black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to the Baroque style, especially in the chromatic aspect of the foregrounds.
"Christ of Burgos".
Oil on canvas. Re-coloured.
It presents restorations and repainting.
Measurements: 194 x 110 cm; 196 x 111,5 cm (frame).
Representation in painting of the Christ of Burgos, characterised by the eggs that adorn the base of his cross. The original sculpture, from which the present painting derives, is housed in the Chapel of the Holy Christ of Brugos in Burgos Cathedral. These eggs symbolise the seagull's nest that the cross of Christ had when it was found floating on the waves by a Burgos merchant. Over the years, parishioners continued to send eggs to Christ. It is a miraculous image, highly venerated since ancient times, as the merchants from Burgos founded chapels in Bruges and Antwerp, and the Augustinians spread his devotion throughout Spain and Latin America. Consequently, her cult multiplied with engravings and engravings, always with the iconography of the distinctive skirt that almost completely covers her legs.
In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background appears totally black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to the Baroque style, especially in the chromatic aspect of the foregrounds.
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Spanish school; 17th century.
"Christ of Burgos".
Oil on canvas. Re-coloured.
It presents restorations and repainting.
Measurements: 194 x 110 cm; 196 x 111,5 cm (frame).
Representation in painting of the Christ of Burgos, characterised by the eggs that adorn the base of his cross. The original sculpture, from which the present painting derives, is housed in the Chapel of the Holy Christ of Brugos in Burgos Cathedral. These eggs symbolise the seagull's nest that the cross of Christ had when it was found floating on the waves by a Burgos merchant. Over the years, parishioners continued to send eggs to Christ. It is a miraculous image, highly venerated since ancient times, as the merchants from Burgos founded chapels in Bruges and Antwerp, and the Augustinians spread his devotion throughout Spain and Latin America. Consequently, her cult multiplied with engravings and engravings, always with the iconography of the distinctive skirt that almost completely covers her legs.
In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background appears totally black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to the Baroque style, especially in the chromatic aspect of the foregrounds.
"Christ of Burgos".
Oil on canvas. Re-coloured.
It presents restorations and repainting.
Measurements: 194 x 110 cm; 196 x 111,5 cm (frame).
Representation in painting of the Christ of Burgos, characterised by the eggs that adorn the base of his cross. The original sculpture, from which the present painting derives, is housed in the Chapel of the Holy Christ of Brugos in Burgos Cathedral. These eggs symbolise the seagull's nest that the cross of Christ had when it was found floating on the waves by a Burgos merchant. Over the years, parishioners continued to send eggs to Christ. It is a miraculous image, highly venerated since ancient times, as the merchants from Burgos founded chapels in Bruges and Antwerp, and the Augustinians spread his devotion throughout Spain and Latin America. Consequently, her cult multiplied with engravings and engravings, always with the iconography of the distinctive skirt that almost completely covers her legs.
In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background appears totally black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to the Baroque style, especially in the chromatic aspect of the foregrounds.
13th October - Old Masters
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Carrer de Cirilo Amorós 55, Valencia
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