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Andalusian school; 18th century."Divine shepherdess".Oil on canvas. Re-drawn.It has some leaps in
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Description
Andalusian school; 18th century.
"Divine shepherdess".
Oil on canvas. Re-drawn.
It has some leaps in the painting and restorations.
Measurements: 101 x 83 cm; 116 x 98 cm (frame).
The theme of the "Divine shepherdess" reached a great popularity after the Counter-Reformation, since it extolled the role of the Virgin in the Christian religion, for this reason iconographies like the Purísima, the Dolorosa and the Divine Shepherdess were promoted. In this case, although the painting shows a common theme, it depicts a Virgin with a cap, closer to the idea of a shepherdess than to her condition of sainthood. Furthermore, the landscape, despite the depth achieved by the artist, does not contain the usual lost lamb or the figure of Saint Michael. In this way the artist empathises more with the viewer, showing a more human Virgin, presented in an idyllic manner, set in the landscape and attentive to her flock who remain faithful to her side.
The origins of the devotion to the Divine Shepherdess are unclear until the 18th century: there are references to Mary as a shepherdess in the writings of John the Geometer, Saint John of God, Saint Peter of Alcantara, the Venerable Mary Jesus of Agreda and Saint Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar (today we can see a similar work on the same theme, also by Tovar, in the Museo Carmen Thyssen in Malaga). In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, St Michael appeared with the arrow which he plunged into the testicle of the accursed wolf".
"Divine shepherdess".
Oil on canvas. Re-drawn.
It has some leaps in the painting and restorations.
Measurements: 101 x 83 cm; 116 x 98 cm (frame).
The theme of the "Divine shepherdess" reached a great popularity after the Counter-Reformation, since it extolled the role of the Virgin in the Christian religion, for this reason iconographies like the Purísima, the Dolorosa and the Divine Shepherdess were promoted. In this case, although the painting shows a common theme, it depicts a Virgin with a cap, closer to the idea of a shepherdess than to her condition of sainthood. Furthermore, the landscape, despite the depth achieved by the artist, does not contain the usual lost lamb or the figure of Saint Michael. In this way the artist empathises more with the viewer, showing a more human Virgin, presented in an idyllic manner, set in the landscape and attentive to her flock who remain faithful to her side.
The origins of the devotion to the Divine Shepherdess are unclear until the 18th century: there are references to Mary as a shepherdess in the writings of John the Geometer, Saint John of God, Saint Peter of Alcantara, the Venerable Mary Jesus of Agreda and Saint Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar (today we can see a similar work on the same theme, also by Tovar, in the Museo Carmen Thyssen in Malaga). In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, St Michael appeared with the arrow which he plunged into the testicle of the accursed wolf".
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Andalusian school; 18th century.
"Divine shepherdess".
Oil on canvas. Re-drawn.
It has some leaps in the painting and restorations.
Measurements: 101 x 83 cm; 116 x 98 cm (frame).
The theme of the "Divine shepherdess" reached a great popularity after the Counter-Reformation, since it extolled the role of the Virgin in the Christian religion, for this reason iconographies like the Purísima, the Dolorosa and the Divine Shepherdess were promoted. In this case, although the painting shows a common theme, it depicts a Virgin with a cap, closer to the idea of a shepherdess than to her condition of sainthood. Furthermore, the landscape, despite the depth achieved by the artist, does not contain the usual lost lamb or the figure of Saint Michael. In this way the artist empathises more with the viewer, showing a more human Virgin, presented in an idyllic manner, set in the landscape and attentive to her flock who remain faithful to her side.
The origins of the devotion to the Divine Shepherdess are unclear until the 18th century: there are references to Mary as a shepherdess in the writings of John the Geometer, Saint John of God, Saint Peter of Alcantara, the Venerable Mary Jesus of Agreda and Saint Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar (today we can see a similar work on the same theme, also by Tovar, in the Museo Carmen Thyssen in Malaga). In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, St Michael appeared with the arrow which he plunged into the testicle of the accursed wolf".
"Divine shepherdess".
Oil on canvas. Re-drawn.
It has some leaps in the painting and restorations.
Measurements: 101 x 83 cm; 116 x 98 cm (frame).
The theme of the "Divine shepherdess" reached a great popularity after the Counter-Reformation, since it extolled the role of the Virgin in the Christian religion, for this reason iconographies like the Purísima, the Dolorosa and the Divine Shepherdess were promoted. In this case, although the painting shows a common theme, it depicts a Virgin with a cap, closer to the idea of a shepherdess than to her condition of sainthood. Furthermore, the landscape, despite the depth achieved by the artist, does not contain the usual lost lamb or the figure of Saint Michael. In this way the artist empathises more with the viewer, showing a more human Virgin, presented in an idyllic manner, set in the landscape and attentive to her flock who remain faithful to her side.
The origins of the devotion to the Divine Shepherdess are unclear until the 18th century: there are references to Mary as a shepherdess in the writings of John the Geometer, Saint John of God, Saint Peter of Alcantara, the Venerable Mary Jesus of Agreda and Saint Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar (today we can see a similar work on the same theme, also by Tovar, in the Museo Carmen Thyssen in Malaga). In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, St Michael appeared with the arrow which he plunged into the testicle of the accursed wolf".
13th October - Old Masters
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