16
Toledo school, second half of the 17th century."Christ walking on the waters".Oil on panel.
1/3
Description
Toledo school, second half of the 17th century.
"Christ walking on the waters".
Oil on panel.
Measurements: 89,5 x 65,5 cm.
Renaissance painting from the school of Toledo in which the biblical episode is represented in which the miracle of Jesus walking on the waters of the lake Tiberias (the sea of Galilee) is narrated. Three apostles, who were fishing, express commotion and one of them, Peter, tries to approach Jesus by walking on the water. However, he sinks and Christ lifts him up. The influence of the Italian Quattrocento can be seen in the way the bodies are worked, in their compact, sculptural volumes, surrounded by rigorous drawing. The elegance of Masaccio's figures, for example, imbued with Greco-Roman classicism, is reflected in the anatomies depicted here. The saturated tones (with a predominance of reds and soft blues) are also quattrocentistas, but in the Toledo school the Italian heritage was enriched by the cultivation of an autochthonous plastic work, also sifted by Flemish influence. The rolling waves of the sea dialogue with the lobed profile of the clouds, giving the painting a very sober balance which nevertheless underlies a rhythmic heartbeat. The figures, with their elegant gestures, contribute to the construction of a peaceful whole, a timeless atmosphere.
Toledan painting in the second half of the 16th century was at its height, as evidenced by the numerous documents in the cathedral archives. During the Renaissance, trends emerged in Toledo (one of them introduced by Italian painters who worked at the Escorial) which would continue throughout the 17th century, with the stellar figure of El Greco. A school of painting with its own identity was created in Toledo. During this period, the city's splendour was reflected in numerous commissions from the nobility and ecclesiastical authorities. The economic boom of the city and the prestige of the Toledo school of painting since Juan de Borgoña also attracted foreign artists, who incorporated the style of the Toledans into their own. Their presence at court, as in the case of Hernando de Ávila, Barroso, Blas de Prado and Carvajal, speaks in favour of the status attained by the Toledans. There was also an abundance of workshops which, with a very high artistic level, served the religious sentiments of convents and private individuals. The Toledan artists of this period, in general, took on board the Flemish Romanists and the Italians, and showed a certain interest in the "still life" that would lead to 17th-century realism, through a Toledan, Sánchez Cotán.
"Christ walking on the waters".
Oil on panel.
Measurements: 89,5 x 65,5 cm.
Renaissance painting from the school of Toledo in which the biblical episode is represented in which the miracle of Jesus walking on the waters of the lake Tiberias (the sea of Galilee) is narrated. Three apostles, who were fishing, express commotion and one of them, Peter, tries to approach Jesus by walking on the water. However, he sinks and Christ lifts him up. The influence of the Italian Quattrocento can be seen in the way the bodies are worked, in their compact, sculptural volumes, surrounded by rigorous drawing. The elegance of Masaccio's figures, for example, imbued with Greco-Roman classicism, is reflected in the anatomies depicted here. The saturated tones (with a predominance of reds and soft blues) are also quattrocentistas, but in the Toledo school the Italian heritage was enriched by the cultivation of an autochthonous plastic work, also sifted by Flemish influence. The rolling waves of the sea dialogue with the lobed profile of the clouds, giving the painting a very sober balance which nevertheless underlies a rhythmic heartbeat. The figures, with their elegant gestures, contribute to the construction of a peaceful whole, a timeless atmosphere.
Toledan painting in the second half of the 16th century was at its height, as evidenced by the numerous documents in the cathedral archives. During the Renaissance, trends emerged in Toledo (one of them introduced by Italian painters who worked at the Escorial) which would continue throughout the 17th century, with the stellar figure of El Greco. A school of painting with its own identity was created in Toledo. During this period, the city's splendour was reflected in numerous commissions from the nobility and ecclesiastical authorities. The economic boom of the city and the prestige of the Toledo school of painting since Juan de Borgoña also attracted foreign artists, who incorporated the style of the Toledans into their own. Their presence at court, as in the case of Hernando de Ávila, Barroso, Blas de Prado and Carvajal, speaks in favour of the status attained by the Toledans. There was also an abundance of workshops which, with a very high artistic level, served the religious sentiments of convents and private individuals. The Toledan artists of this period, in general, took on board the Flemish Romanists and the Italians, and showed a certain interest in the "still life" that would lead to 17th-century realism, through a Toledan, Sánchez Cotán.
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Toledo school, second half of the 17th century.
"Christ walking on the waters".
Oil on panel.
Measurements: 89,5 x 65,5 cm.
Renaissance painting from the school of Toledo in which the biblical episode is represented in which the miracle of Jesus walking on the waters of the lake Tiberias (the sea of Galilee) is narrated. Three apostles, who were fishing, express commotion and one of them, Peter, tries to approach Jesus by walking on the water. However, he sinks and Christ lifts him up. The influence of the Italian Quattrocento can be seen in the way the bodies are worked, in their compact, sculptural volumes, surrounded by rigorous drawing. The elegance of Masaccio's figures, for example, imbued with Greco-Roman classicism, is reflected in the anatomies depicted here. The saturated tones (with a predominance of reds and soft blues) are also quattrocentistas, but in the Toledo school the Italian heritage was enriched by the cultivation of an autochthonous plastic work, also sifted by Flemish influence. The rolling waves of the sea dialogue with the lobed profile of the clouds, giving the painting a very sober balance which nevertheless underlies a rhythmic heartbeat. The figures, with their elegant gestures, contribute to the construction of a peaceful whole, a timeless atmosphere.
Toledan painting in the second half of the 16th century was at its height, as evidenced by the numerous documents in the cathedral archives. During the Renaissance, trends emerged in Toledo (one of them introduced by Italian painters who worked at the Escorial) which would continue throughout the 17th century, with the stellar figure of El Greco. A school of painting with its own identity was created in Toledo. During this period, the city's splendour was reflected in numerous commissions from the nobility and ecclesiastical authorities. The economic boom of the city and the prestige of the Toledo school of painting since Juan de Borgoña also attracted foreign artists, who incorporated the style of the Toledans into their own. Their presence at court, as in the case of Hernando de Ávila, Barroso, Blas de Prado and Carvajal, speaks in favour of the status attained by the Toledans. There was also an abundance of workshops which, with a very high artistic level, served the religious sentiments of convents and private individuals. The Toledan artists of this period, in general, took on board the Flemish Romanists and the Italians, and showed a certain interest in the "still life" that would lead to 17th-century realism, through a Toledan, Sánchez Cotán.
"Christ walking on the waters".
Oil on panel.
Measurements: 89,5 x 65,5 cm.
Renaissance painting from the school of Toledo in which the biblical episode is represented in which the miracle of Jesus walking on the waters of the lake Tiberias (the sea of Galilee) is narrated. Three apostles, who were fishing, express commotion and one of them, Peter, tries to approach Jesus by walking on the water. However, he sinks and Christ lifts him up. The influence of the Italian Quattrocento can be seen in the way the bodies are worked, in their compact, sculptural volumes, surrounded by rigorous drawing. The elegance of Masaccio's figures, for example, imbued with Greco-Roman classicism, is reflected in the anatomies depicted here. The saturated tones (with a predominance of reds and soft blues) are also quattrocentistas, but in the Toledo school the Italian heritage was enriched by the cultivation of an autochthonous plastic work, also sifted by Flemish influence. The rolling waves of the sea dialogue with the lobed profile of the clouds, giving the painting a very sober balance which nevertheless underlies a rhythmic heartbeat. The figures, with their elegant gestures, contribute to the construction of a peaceful whole, a timeless atmosphere.
Toledan painting in the second half of the 16th century was at its height, as evidenced by the numerous documents in the cathedral archives. During the Renaissance, trends emerged in Toledo (one of them introduced by Italian painters who worked at the Escorial) which would continue throughout the 17th century, with the stellar figure of El Greco. A school of painting with its own identity was created in Toledo. During this period, the city's splendour was reflected in numerous commissions from the nobility and ecclesiastical authorities. The economic boom of the city and the prestige of the Toledo school of painting since Juan de Borgoña also attracted foreign artists, who incorporated the style of the Toledans into their own. Their presence at court, as in the case of Hernando de Ávila, Barroso, Blas de Prado and Carvajal, speaks in favour of the status attained by the Toledans. There was also an abundance of workshops which, with a very high artistic level, served the religious sentiments of convents and private individuals. The Toledan artists of this period, in general, took on board the Flemish Romanists and the Italians, and showed a certain interest in the "still life" that would lead to 17th-century realism, through a Toledan, Sánchez Cotán.
9th November - Old Masters
Sale Date(s)
Venue Address
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
General delivery information available from the auctioneer
Setdart offers Worldwide shipping
PICK UP IN ROOM: You can come and pick up your lots in our offices (Barcelona, Madrid or Valencia). At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART- LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
Important Information
25% buyer´s premium
OR
21% buyer´s premium at www.setdart.com
Terms & Conditions
The maximum period to pay the lots is 7 working days. You can pay either via bank transfer or with credit card through our platform www.setdart.com (we only accept VISA or Mastercard).
BUYER´S PREMIUM: 22% Hammer price + 21% VAT from the buyer´s premium
If your piece has more than 100 years, our Ministry of Culture requires an export certificate in order for the piece to leave the country. Note that if the piece goes inside the EU, there is no cost for the export certificate. If the piece goes outside the EU, there is a cost for the export certificate. You can find more information in our Ministry of Culture website: https://www.culturaydeporte.gob.es/en/cultura/patrimonio/exportacionimportacion/exportacion/tasas.html
INQUIRIES: admin@setdart.com
Setdart guides you through the entire process, from the time of award to the day you receive your lot. Our logistics team will be happy to manage your transport, and will advise you on the best shipping method with professionals from the sector used to handling works of art and jewelry.
WE OFFER WORLDWIDE DOOR TO DOOR SHIPPING
PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
SETDART IS NOT RESPONSIBLE FOR THE STATE OF THE PARTS ONCE THEY LEAVE OUR FACILITIES. MRW SHIPMENTS: Once the payment is made, your lot will be packed for shipment, the logistics department will send you an e-mail notifying you of the day it leaves our warehouse, changes of address cannot be made after receiving this e-mail.
INSURANCE INCIDENTS: Coverage for the value of the auction up to 3000 ? per shipment, if the value of the auction is higher, Setdart will send you a quote including the additional insurance. The insurance company WILL NOT BE RESPONSIBLE FOR THE SHIPMENT THAT EXCEEDS THAT AMOUNT AND IS NOT FULLY INSURED. MRW INCIDENTS: Maximum notification 48 hours after receipt, after which the insurance company WILL NOT BE RESPONSIBLE AND NO CLAIMS WILL BE ACCEPTED.
E-MAIL LOGISTICS: logistica@setdart.com
PICK UP YOUR MESSAGES: You can send your own messaging, prior notice via e-mail that your shipment is ready, please note 3 or 4 days in advance. This type of shipment is packaged so Setdart will provide you with a quote.
EXPENSES FOR STORAGE: We inform you that if the purchased lot is not picked up within a month, you will be charged 30€ per week per lot. Setdart Online S.L., owner of the web site "setdart.com", "setdart.net" and "setdart.org", acts as a company of Spanish nationality inscribed in the Volume 36955, sheet 182, page B-293056 of the Mercantile Registry, with registered office at Calle Aragó
