42
Hispano-Flemish school; 16th century."Virgin and Child.Oil on panel.There is a break in the panel.
1/5
Description
Hispano-Flemish school; 16th century.
"Virgin and Child.
Oil on panel.
There is a break in the panel. The panel is reinforced with veneer and flakes.
It has faults and repainting.
Measurements: 37 x 26.5 cm; 53 x 42.5 cm (frame).
In the foreground is the image of Mary, dressed in a red tunic with her hair covered by a transparent cloth that lets you see through it. The Virgin is holding and holding the Child Jesus close to her cheek, who is placed in his mother's arms, completely naked and innocent, and moves one of his hands towards his mother's cheek, holding it gently. Jesus looks towards the Virgin, but she looks directly at the viewer as if warning that her son will be the saviour, the one who will sacrifice his life.
As is usual in the Flemish school, the attention to the quality of the fabrics and their colouring is particularly noteworthy. The composition is also very common in this style, deriving from the iconographic patterns established around the representation of the Virgin of the Milk, also known as the Nourishing Virgin, the Virgin of Repose or the Virgin of Bethlehem, a Marian iconography in which Mary is depicted breastfeeding the Child. It is based on the story of the Grotto of the Milk in Bethlehem, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour and turned white. However, iconographically, this is a very ancient theme, which has its origins in the mother goddesses of the ancient religions of the Near East and the Greco-Latin world: Isis with Horus, the Milky Way from Hera's milk, etc. This theme was incorporated into early Christian art, examples of which can be found as early as the 2nd century. In Byzantine art it received the name Galactotrofusa, and was a recurring theme in icons. In Latin Christianity the invocation became very popular in the last centuries of the Middle Ages. It was particularly frequent in the Sienese school of the Trecento, and soon spread throughout Western Europe. However, its representation was limited after the Council of Trent, for reasons of modesty, although Baroque painters continued to depict it, and it even reached the colonial schools.
"Virgin and Child.
Oil on panel.
There is a break in the panel. The panel is reinforced with veneer and flakes.
It has faults and repainting.
Measurements: 37 x 26.5 cm; 53 x 42.5 cm (frame).
In the foreground is the image of Mary, dressed in a red tunic with her hair covered by a transparent cloth that lets you see through it. The Virgin is holding and holding the Child Jesus close to her cheek, who is placed in his mother's arms, completely naked and innocent, and moves one of his hands towards his mother's cheek, holding it gently. Jesus looks towards the Virgin, but she looks directly at the viewer as if warning that her son will be the saviour, the one who will sacrifice his life.
As is usual in the Flemish school, the attention to the quality of the fabrics and their colouring is particularly noteworthy. The composition is also very common in this style, deriving from the iconographic patterns established around the representation of the Virgin of the Milk, also known as the Nourishing Virgin, the Virgin of Repose or the Virgin of Bethlehem, a Marian iconography in which Mary is depicted breastfeeding the Child. It is based on the story of the Grotto of the Milk in Bethlehem, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour and turned white. However, iconographically, this is a very ancient theme, which has its origins in the mother goddesses of the ancient religions of the Near East and the Greco-Latin world: Isis with Horus, the Milky Way from Hera's milk, etc. This theme was incorporated into early Christian art, examples of which can be found as early as the 2nd century. In Byzantine art it received the name Galactotrofusa, and was a recurring theme in icons. In Latin Christianity the invocation became very popular in the last centuries of the Middle Ages. It was particularly frequent in the Sienese school of the Trecento, and soon spread throughout Western Europe. However, its representation was limited after the Council of Trent, for reasons of modesty, although Baroque painters continued to depict it, and it even reached the colonial schools.
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Hispano-Flemish school; 16th century.
"Virgin and Child.
Oil on panel.
There is a break in the panel. The panel is reinforced with veneer and flakes.
It has faults and repainting.
Measurements: 37 x 26.5 cm; 53 x 42.5 cm (frame).
In the foreground is the image of Mary, dressed in a red tunic with her hair covered by a transparent cloth that lets you see through it. The Virgin is holding and holding the Child Jesus close to her cheek, who is placed in his mother's arms, completely naked and innocent, and moves one of his hands towards his mother's cheek, holding it gently. Jesus looks towards the Virgin, but she looks directly at the viewer as if warning that her son will be the saviour, the one who will sacrifice his life.
As is usual in the Flemish school, the attention to the quality of the fabrics and their colouring is particularly noteworthy. The composition is also very common in this style, deriving from the iconographic patterns established around the representation of the Virgin of the Milk, also known as the Nourishing Virgin, the Virgin of Repose or the Virgin of Bethlehem, a Marian iconography in which Mary is depicted breastfeeding the Child. It is based on the story of the Grotto of the Milk in Bethlehem, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour and turned white. However, iconographically, this is a very ancient theme, which has its origins in the mother goddesses of the ancient religions of the Near East and the Greco-Latin world: Isis with Horus, the Milky Way from Hera's milk, etc. This theme was incorporated into early Christian art, examples of which can be found as early as the 2nd century. In Byzantine art it received the name Galactotrofusa, and was a recurring theme in icons. In Latin Christianity the invocation became very popular in the last centuries of the Middle Ages. It was particularly frequent in the Sienese school of the Trecento, and soon spread throughout Western Europe. However, its representation was limited after the Council of Trent, for reasons of modesty, although Baroque painters continued to depict it, and it even reached the colonial schools.
"Virgin and Child.
Oil on panel.
There is a break in the panel. The panel is reinforced with veneer and flakes.
It has faults and repainting.
Measurements: 37 x 26.5 cm; 53 x 42.5 cm (frame).
In the foreground is the image of Mary, dressed in a red tunic with her hair covered by a transparent cloth that lets you see through it. The Virgin is holding and holding the Child Jesus close to her cheek, who is placed in his mother's arms, completely naked and innocent, and moves one of his hands towards his mother's cheek, holding it gently. Jesus looks towards the Virgin, but she looks directly at the viewer as if warning that her son will be the saviour, the one who will sacrifice his life.
As is usual in the Flemish school, the attention to the quality of the fabrics and their colouring is particularly noteworthy. The composition is also very common in this style, deriving from the iconographic patterns established around the representation of the Virgin of the Milk, also known as the Nourishing Virgin, the Virgin of Repose or the Virgin of Bethlehem, a Marian iconography in which Mary is depicted breastfeeding the Child. It is based on the story of the Grotto of the Milk in Bethlehem, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour and turned white. However, iconographically, this is a very ancient theme, which has its origins in the mother goddesses of the ancient religions of the Near East and the Greco-Latin world: Isis with Horus, the Milky Way from Hera's milk, etc. This theme was incorporated into early Christian art, examples of which can be found as early as the 2nd century. In Byzantine art it received the name Galactotrofusa, and was a recurring theme in icons. In Latin Christianity the invocation became very popular in the last centuries of the Middle Ages. It was particularly frequent in the Sienese school of the Trecento, and soon spread throughout Western Europe. However, its representation was limited after the Council of Trent, for reasons of modesty, although Baroque painters continued to depict it, and it even reached the colonial schools.
13th October - Old Masters
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