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Northern Italian school of the second half of the 18th century."Holy Family".Oil on canvas. Re-
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Description
Northern Italian school of the second half of the 18th century.
"Holy Family".
Oil on canvas. Re-coloured.
It presents a small rubbing in Saint Joseph's hand and repainting.
Measurements: 118 x 136 cm.
In the present work the Virgin is presented to us in an intimate way, breastfeeding the Child while St. Joseph, leaning on his cane and arm, contemplates the scene tenderly. It is an intimate moment that opens up to the viewer, making him a participant, with the only separating element being the wall on which rests an elegant blue cushion, on top of which the Christ Child is lying. It is a placid, almost idyllic scene in which a window on the left side brings us back to the earthly world, revealing a landscape with two figures in the background.
The representation and model of the Holy Family has served as an image that reinforces the family portrait and the moral representation of the Christian family. The different variants that have come down to us from the history of art have been due to the political and religious needs of the time. In the Italian Renaissance period for art, but late medieval for society, the iconography of the Holy Family was predominantly based on the Virgin, Child and Saint Anne, especially in Tuscany, as the mother of the Virgin was the patron saint of the city of Florence. Although the figure of Saint Joseph is not usually depicted in the iconography of this theme, or if he is, it is in a more restrained and almost secondary manner, it was during the 17th century that his figure as the Child's earthly father became more prominent in scenes in which his paternal and protective role was more palpable and even, on occasions, the protagonist. This is due to the way in which the Church has thought of him throughout history, whose interest in the figure of Saint Joseph was reconsidered as new beliefs were reworked, adding to this the development of bourgeois society.
"Holy Family".
Oil on canvas. Re-coloured.
It presents a small rubbing in Saint Joseph's hand and repainting.
Measurements: 118 x 136 cm.
In the present work the Virgin is presented to us in an intimate way, breastfeeding the Child while St. Joseph, leaning on his cane and arm, contemplates the scene tenderly. It is an intimate moment that opens up to the viewer, making him a participant, with the only separating element being the wall on which rests an elegant blue cushion, on top of which the Christ Child is lying. It is a placid, almost idyllic scene in which a window on the left side brings us back to the earthly world, revealing a landscape with two figures in the background.
The representation and model of the Holy Family has served as an image that reinforces the family portrait and the moral representation of the Christian family. The different variants that have come down to us from the history of art have been due to the political and religious needs of the time. In the Italian Renaissance period for art, but late medieval for society, the iconography of the Holy Family was predominantly based on the Virgin, Child and Saint Anne, especially in Tuscany, as the mother of the Virgin was the patron saint of the city of Florence. Although the figure of Saint Joseph is not usually depicted in the iconography of this theme, or if he is, it is in a more restrained and almost secondary manner, it was during the 17th century that his figure as the Child's earthly father became more prominent in scenes in which his paternal and protective role was more palpable and even, on occasions, the protagonist. This is due to the way in which the Church has thought of him throughout history, whose interest in the figure of Saint Joseph was reconsidered as new beliefs were reworked, adding to this the development of bourgeois society.
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Northern Italian school of the second half of the 18th century.
"Holy Family".
Oil on canvas. Re-coloured.
It presents a small rubbing in Saint Joseph's hand and repainting.
Measurements: 118 x 136 cm.
In the present work the Virgin is presented to us in an intimate way, breastfeeding the Child while St. Joseph, leaning on his cane and arm, contemplates the scene tenderly. It is an intimate moment that opens up to the viewer, making him a participant, with the only separating element being the wall on which rests an elegant blue cushion, on top of which the Christ Child is lying. It is a placid, almost idyllic scene in which a window on the left side brings us back to the earthly world, revealing a landscape with two figures in the background.
The representation and model of the Holy Family has served as an image that reinforces the family portrait and the moral representation of the Christian family. The different variants that have come down to us from the history of art have been due to the political and religious needs of the time. In the Italian Renaissance period for art, but late medieval for society, the iconography of the Holy Family was predominantly based on the Virgin, Child and Saint Anne, especially in Tuscany, as the mother of the Virgin was the patron saint of the city of Florence. Although the figure of Saint Joseph is not usually depicted in the iconography of this theme, or if he is, it is in a more restrained and almost secondary manner, it was during the 17th century that his figure as the Child's earthly father became more prominent in scenes in which his paternal and protective role was more palpable and even, on occasions, the protagonist. This is due to the way in which the Church has thought of him throughout history, whose interest in the figure of Saint Joseph was reconsidered as new beliefs were reworked, adding to this the development of bourgeois society.
"Holy Family".
Oil on canvas. Re-coloured.
It presents a small rubbing in Saint Joseph's hand and repainting.
Measurements: 118 x 136 cm.
In the present work the Virgin is presented to us in an intimate way, breastfeeding the Child while St. Joseph, leaning on his cane and arm, contemplates the scene tenderly. It is an intimate moment that opens up to the viewer, making him a participant, with the only separating element being the wall on which rests an elegant blue cushion, on top of which the Christ Child is lying. It is a placid, almost idyllic scene in which a window on the left side brings us back to the earthly world, revealing a landscape with two figures in the background.
The representation and model of the Holy Family has served as an image that reinforces the family portrait and the moral representation of the Christian family. The different variants that have come down to us from the history of art have been due to the political and religious needs of the time. In the Italian Renaissance period for art, but late medieval for society, the iconography of the Holy Family was predominantly based on the Virgin, Child and Saint Anne, especially in Tuscany, as the mother of the Virgin was the patron saint of the city of Florence. Although the figure of Saint Joseph is not usually depicted in the iconography of this theme, or if he is, it is in a more restrained and almost secondary manner, it was during the 17th century that his figure as the Child's earthly father became more prominent in scenes in which his paternal and protective role was more palpable and even, on occasions, the protagonist. This is due to the way in which the Church has thought of him throughout history, whose interest in the figure of Saint Joseph was reconsidered as new beliefs were reworked, adding to this the development of bourgeois society.
26th October - Old Masters
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