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Novo-Hispanic school of the 17th century."Virgin of the Popolo".Oil on canvas. Re-enteled.
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Description
Novo-Hispanic school of the 17th century.
"Virgin of the Popolo".
Oil on canvas. Re-enteled.
Measurements: 136 x 95 cm; 147 x 105 (frame).
We are in front of the representation of a Virgin with the Child that, for the warmth of the tones used and the delicate workmanship of the faces, can belong to the Novo-Hispanic school of the XVII century. Iconographically, it follows a compositional model inspired by the "Madonna del Popolo". It is a supposed portrait of the Virgin painted by Saint Luke, patron saint of painters, an icon now kept in the church of the same name in Rome. Thus, we see the Virgin half-length, dressed in a red tunic and dark cloak, holding the child in her arms, who is also wearing a tunic and cloak, albeit in red and gold. Jesus raises his right hand and holds the orb in the other. Following the model of the icon of the "Madonna del Popolo", the figures are hieratic and solemn, with their gaze fixed straight ahead, without looking at each other. However, the modelling of the faces and hands shows a clear classical influence, as it is markedly sculptural.
During Spanish colonial rule in the colonies, mainly religious painting was developed in order to Christianise the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of aesthetics, types and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Virgin of the Popolo".
Oil on canvas. Re-enteled.
Measurements: 136 x 95 cm; 147 x 105 (frame).
We are in front of the representation of a Virgin with the Child that, for the warmth of the tones used and the delicate workmanship of the faces, can belong to the Novo-Hispanic school of the XVII century. Iconographically, it follows a compositional model inspired by the "Madonna del Popolo". It is a supposed portrait of the Virgin painted by Saint Luke, patron saint of painters, an icon now kept in the church of the same name in Rome. Thus, we see the Virgin half-length, dressed in a red tunic and dark cloak, holding the child in her arms, who is also wearing a tunic and cloak, albeit in red and gold. Jesus raises his right hand and holds the orb in the other. Following the model of the icon of the "Madonna del Popolo", the figures are hieratic and solemn, with their gaze fixed straight ahead, without looking at each other. However, the modelling of the faces and hands shows a clear classical influence, as it is markedly sculptural.
During Spanish colonial rule in the colonies, mainly religious painting was developed in order to Christianise the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of aesthetics, types and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
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Novo-Hispanic school of the 17th century.
"Virgin of the Popolo".
Oil on canvas. Re-enteled.
Measurements: 136 x 95 cm; 147 x 105 (frame).
We are in front of the representation of a Virgin with the Child that, for the warmth of the tones used and the delicate workmanship of the faces, can belong to the Novo-Hispanic school of the XVII century. Iconographically, it follows a compositional model inspired by the "Madonna del Popolo". It is a supposed portrait of the Virgin painted by Saint Luke, patron saint of painters, an icon now kept in the church of the same name in Rome. Thus, we see the Virgin half-length, dressed in a red tunic and dark cloak, holding the child in her arms, who is also wearing a tunic and cloak, albeit in red and gold. Jesus raises his right hand and holds the orb in the other. Following the model of the icon of the "Madonna del Popolo", the figures are hieratic and solemn, with their gaze fixed straight ahead, without looking at each other. However, the modelling of the faces and hands shows a clear classical influence, as it is markedly sculptural.
During Spanish colonial rule in the colonies, mainly religious painting was developed in order to Christianise the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of aesthetics, types and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Virgin of the Popolo".
Oil on canvas. Re-enteled.
Measurements: 136 x 95 cm; 147 x 105 (frame).
We are in front of the representation of a Virgin with the Child that, for the warmth of the tones used and the delicate workmanship of the faces, can belong to the Novo-Hispanic school of the XVII century. Iconographically, it follows a compositional model inspired by the "Madonna del Popolo". It is a supposed portrait of the Virgin painted by Saint Luke, patron saint of painters, an icon now kept in the church of the same name in Rome. Thus, we see the Virgin half-length, dressed in a red tunic and dark cloak, holding the child in her arms, who is also wearing a tunic and cloak, albeit in red and gold. Jesus raises his right hand and holds the orb in the other. Following the model of the icon of the "Madonna del Popolo", the figures are hieratic and solemn, with their gaze fixed straight ahead, without looking at each other. However, the modelling of the faces and hands shows a clear classical influence, as it is markedly sculptural.
During Spanish colonial rule in the colonies, mainly religious painting was developed in order to Christianise the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of aesthetics, types and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
26th October - Old Masters
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