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Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Cordoba, 1633 - Madrid, 1669)."Saint Joseph with
1/5
Description
Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Cordoba, 1633 - Madrid, 1669).
"Saint Joseph with Child".
Oil on canvas. Re-retouched.
It presents restorations.
Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame).
This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent.
A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
"Saint Joseph with Child".
Oil on canvas. Re-retouched.
It presents restorations.
Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame).
This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent.
A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
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Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Cordoba, 1633 - Madrid, 1669).
"Saint Joseph with Child".
Oil on canvas. Re-retouched.
It presents restorations.
Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame).
This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent.
A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
"Saint Joseph with Child".
Oil on canvas. Re-retouched.
It presents restorations.
Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame).
This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent.
A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
9th November - Old Masters
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