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Andalusian school; late 17th century."Infant Jesus".Carved, polychromed and gilded wood.It has a
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Description
Andalusian school; late 17th century.
"Infant Jesus".
Carved, polychromed and gilded wood.
It has a base from a later period.
Measurements: 63 cm (height of the Child); 79 x 30 x 32 cm (total).
Round sculpture representing the figure of the Infant Jesus, with a large cross in his right hand, standing on the head of three cherubs. The author presents us with a sculpture in which movement is the main feature, as can be seen through the treatment of the hair and the tunic, which not only has the usual folds in the fabric, but is also open in the area of the leg, as if it were being waved by the wind. It is worth noting that the posture of the left hand, half-open and facing the viewer, indicates that it probably originally held an identifying attribute.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. The Granada school stood out during this period, receiving and developing the stylistic patterns of the Baroque. The leading role played by the Andalusian school of sculpture during the period known as the Golden Age is evident; a series of masters of unquestionable worth belong to it, who were able to combine extraordinary technical quality and religious depth in their works, in keeping with the atmosphere of their time, fully in tune with the tastes of the clientele, who were more interested in works with religious themes than in secular commissions, thus marking a substantial difference with respect to the production of other European countries. It is also worth noting that the economic development and the boom that Seville experienced after the Discovery of America, having become the gateway and port of the Indies, was quickly reflected in art; from the first decades of the century, masters of different origins began to flock to the city in search of the American market and the potential Sevillian clientele, increasingly attracted by the new artistic forms arriving from Italy.
"Infant Jesus".
Carved, polychromed and gilded wood.
It has a base from a later period.
Measurements: 63 cm (height of the Child); 79 x 30 x 32 cm (total).
Round sculpture representing the figure of the Infant Jesus, with a large cross in his right hand, standing on the head of three cherubs. The author presents us with a sculpture in which movement is the main feature, as can be seen through the treatment of the hair and the tunic, which not only has the usual folds in the fabric, but is also open in the area of the leg, as if it were being waved by the wind. It is worth noting that the posture of the left hand, half-open and facing the viewer, indicates that it probably originally held an identifying attribute.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. The Granada school stood out during this period, receiving and developing the stylistic patterns of the Baroque. The leading role played by the Andalusian school of sculpture during the period known as the Golden Age is evident; a series of masters of unquestionable worth belong to it, who were able to combine extraordinary technical quality and religious depth in their works, in keeping with the atmosphere of their time, fully in tune with the tastes of the clientele, who were more interested in works with religious themes than in secular commissions, thus marking a substantial difference with respect to the production of other European countries. It is also worth noting that the economic development and the boom that Seville experienced after the Discovery of America, having become the gateway and port of the Indies, was quickly reflected in art; from the first decades of the century, masters of different origins began to flock to the city in search of the American market and the potential Sevillian clientele, increasingly attracted by the new artistic forms arriving from Italy.
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Andalusian school; late 17th century.
"Infant Jesus".
Carved, polychromed and gilded wood.
It has a base from a later period.
Measurements: 63 cm (height of the Child); 79 x 30 x 32 cm (total).
Round sculpture representing the figure of the Infant Jesus, with a large cross in his right hand, standing on the head of three cherubs. The author presents us with a sculpture in which movement is the main feature, as can be seen through the treatment of the hair and the tunic, which not only has the usual folds in the fabric, but is also open in the area of the leg, as if it were being waved by the wind. It is worth noting that the posture of the left hand, half-open and facing the viewer, indicates that it probably originally held an identifying attribute.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. The Granada school stood out during this period, receiving and developing the stylistic patterns of the Baroque. The leading role played by the Andalusian school of sculpture during the period known as the Golden Age is evident; a series of masters of unquestionable worth belong to it, who were able to combine extraordinary technical quality and religious depth in their works, in keeping with the atmosphere of their time, fully in tune with the tastes of the clientele, who were more interested in works with religious themes than in secular commissions, thus marking a substantial difference with respect to the production of other European countries. It is also worth noting that the economic development and the boom that Seville experienced after the Discovery of America, having become the gateway and port of the Indies, was quickly reflected in art; from the first decades of the century, masters of different origins began to flock to the city in search of the American market and the potential Sevillian clientele, increasingly attracted by the new artistic forms arriving from Italy.
"Infant Jesus".
Carved, polychromed and gilded wood.
It has a base from a later period.
Measurements: 63 cm (height of the Child); 79 x 30 x 32 cm (total).
Round sculpture representing the figure of the Infant Jesus, with a large cross in his right hand, standing on the head of three cherubs. The author presents us with a sculpture in which movement is the main feature, as can be seen through the treatment of the hair and the tunic, which not only has the usual folds in the fabric, but is also open in the area of the leg, as if it were being waved by the wind. It is worth noting that the posture of the left hand, half-open and facing the viewer, indicates that it probably originally held an identifying attribute.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. The Granada school stood out during this period, receiving and developing the stylistic patterns of the Baroque. The leading role played by the Andalusian school of sculpture during the period known as the Golden Age is evident; a series of masters of unquestionable worth belong to it, who were able to combine extraordinary technical quality and religious depth in their works, in keeping with the atmosphere of their time, fully in tune with the tastes of the clientele, who were more interested in works with religious themes than in secular commissions, thus marking a substantial difference with respect to the production of other European countries. It is also worth noting that the economic development and the boom that Seville experienced after the Discovery of America, having become the gateway and port of the Indies, was quickly reflected in art; from the first decades of the century, masters of different origins began to flock to the city in search of the American market and the potential Sevillian clientele, increasingly attracted by the new artistic forms arriving from Italy.
9th November - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
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