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URBANO FOS (Tarragona, 1615 - Valencia, 1658)."Saint John the Evangelist", 1651.Oil on canvas.New
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Description
URBANO FOS (Tarragona, 1615 - Valencia, 1658).
"Saint John the Evangelist", 1651.
Oil on canvas.
New stretcher. It has repainting and small losses of polychromy. It needs cleaning and restoration.
Size: 160 x 100 cm; 168 x 108 cm (frame).
The painting presents the standing figure of Saint John, one of the authors of the four canonical gospels that form part of the New Testament and supposed author of the Apocalypse. Saint John is depicted with youthful features, with a beard and brown hair. In this carving, his image is close to that usually adopted by Christ, instead of Saint John, who is normally depicted as a beardless man with short blond hair. Despite this singularity, the figure is perfectly identifiable thanks to the presence of an eagle at his feet. The eagle, a symbolic element in John, like the angel in Matthew, the lion in Mark and the bull in Luke, is taken from Old Testament writings (the visions of the prophet Ezekiel) and from the text of the Apocalypse itself. St John holds an open book in his left hand, which alludes to his status as the author of the Gospel, while in his right hand he holds another attribute, a palm, which alludes to his martyrdom. He wears a long tunic that falls to the ground and crosses in front of his waist, creating a dynamic play of folds. The figure puts one foot forward and bends the knee of the opposite leg, in a counterpoint that adds liveliness and naturalness to the figure. The clothes, moreover, are fluttered by an invisible breeze, in a dynamic play typical of early Spanish Baroque art.
The personality and work of Urbano Fos became known in 1938, when Delphine Darby assigned to the so-called "Master of Saint Roch" a group of works previously attributed to Francisco Ribalta. The most significant of these, the San Roque of the Castellón Town Hall, was later presented as the sure work of Urbano Fos, whom other documents made it possible to link to Pedro Orrente and Jerónimo Jacinto Espinosa, whose influences he would have assimilated. In 1635 he was already working in Castellón, where three years later Espinosa and Orrente valued some paintings he had done for the co-cathedral church of Santa María, one of which could be that of San Miguel and San Roque. In 1648 he was paid for two works executed for the hermitage of the Virgin of Lledó near Castellón: a lost Annunciation and a Crucified Christ that is still in place. A year later he is documented as having painted three canvases for the hospital for the apes in Castellón, known as the Casa Blanca, including a Saint Roch. In 1650 he was in Segorbe, working in the Valdecristo Charterhouse on a series of scenes from the life of Saint Bruno. From there he moved to Valencia, where he devoted himself to theology, obtaining the title of doctor and the position of pavorde in the cathedral, as he stated in his will. The document also records the painter's comfortable financial situation and his extensive library, all of which consisted of religious works.
"Saint John the Evangelist", 1651.
Oil on canvas.
New stretcher. It has repainting and small losses of polychromy. It needs cleaning and restoration.
Size: 160 x 100 cm; 168 x 108 cm (frame).
The painting presents the standing figure of Saint John, one of the authors of the four canonical gospels that form part of the New Testament and supposed author of the Apocalypse. Saint John is depicted with youthful features, with a beard and brown hair. In this carving, his image is close to that usually adopted by Christ, instead of Saint John, who is normally depicted as a beardless man with short blond hair. Despite this singularity, the figure is perfectly identifiable thanks to the presence of an eagle at his feet. The eagle, a symbolic element in John, like the angel in Matthew, the lion in Mark and the bull in Luke, is taken from Old Testament writings (the visions of the prophet Ezekiel) and from the text of the Apocalypse itself. St John holds an open book in his left hand, which alludes to his status as the author of the Gospel, while in his right hand he holds another attribute, a palm, which alludes to his martyrdom. He wears a long tunic that falls to the ground and crosses in front of his waist, creating a dynamic play of folds. The figure puts one foot forward and bends the knee of the opposite leg, in a counterpoint that adds liveliness and naturalness to the figure. The clothes, moreover, are fluttered by an invisible breeze, in a dynamic play typical of early Spanish Baroque art.
The personality and work of Urbano Fos became known in 1938, when Delphine Darby assigned to the so-called "Master of Saint Roch" a group of works previously attributed to Francisco Ribalta. The most significant of these, the San Roque of the Castellón Town Hall, was later presented as the sure work of Urbano Fos, whom other documents made it possible to link to Pedro Orrente and Jerónimo Jacinto Espinosa, whose influences he would have assimilated. In 1635 he was already working in Castellón, where three years later Espinosa and Orrente valued some paintings he had done for the co-cathedral church of Santa María, one of which could be that of San Miguel and San Roque. In 1648 he was paid for two works executed for the hermitage of the Virgin of Lledó near Castellón: a lost Annunciation and a Crucified Christ that is still in place. A year later he is documented as having painted three canvases for the hospital for the apes in Castellón, known as the Casa Blanca, including a Saint Roch. In 1650 he was in Segorbe, working in the Valdecristo Charterhouse on a series of scenes from the life of Saint Bruno. From there he moved to Valencia, where he devoted himself to theology, obtaining the title of doctor and the position of pavorde in the cathedral, as he stated in his will. The document also records the painter's comfortable financial situation and his extensive library, all of which consisted of religious works.
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URBANO FOS (Tarragona, 1615 - Valencia, 1658).
"Saint John the Evangelist", 1651.
Oil on canvas.
New stretcher. It has repainting and small losses of polychromy. It needs cleaning and restoration.
Size: 160 x 100 cm; 168 x 108 cm (frame).
The painting presents the standing figure of Saint John, one of the authors of the four canonical gospels that form part of the New Testament and supposed author of the Apocalypse. Saint John is depicted with youthful features, with a beard and brown hair. In this carving, his image is close to that usually adopted by Christ, instead of Saint John, who is normally depicted as a beardless man with short blond hair. Despite this singularity, the figure is perfectly identifiable thanks to the presence of an eagle at his feet. The eagle, a symbolic element in John, like the angel in Matthew, the lion in Mark and the bull in Luke, is taken from Old Testament writings (the visions of the prophet Ezekiel) and from the text of the Apocalypse itself. St John holds an open book in his left hand, which alludes to his status as the author of the Gospel, while in his right hand he holds another attribute, a palm, which alludes to his martyrdom. He wears a long tunic that falls to the ground and crosses in front of his waist, creating a dynamic play of folds. The figure puts one foot forward and bends the knee of the opposite leg, in a counterpoint that adds liveliness and naturalness to the figure. The clothes, moreover, are fluttered by an invisible breeze, in a dynamic play typical of early Spanish Baroque art.
The personality and work of Urbano Fos became known in 1938, when Delphine Darby assigned to the so-called "Master of Saint Roch" a group of works previously attributed to Francisco Ribalta. The most significant of these, the San Roque of the Castellón Town Hall, was later presented as the sure work of Urbano Fos, whom other documents made it possible to link to Pedro Orrente and Jerónimo Jacinto Espinosa, whose influences he would have assimilated. In 1635 he was already working in Castellón, where three years later Espinosa and Orrente valued some paintings he had done for the co-cathedral church of Santa María, one of which could be that of San Miguel and San Roque. In 1648 he was paid for two works executed for the hermitage of the Virgin of Lledó near Castellón: a lost Annunciation and a Crucified Christ that is still in place. A year later he is documented as having painted three canvases for the hospital for the apes in Castellón, known as the Casa Blanca, including a Saint Roch. In 1650 he was in Segorbe, working in the Valdecristo Charterhouse on a series of scenes from the life of Saint Bruno. From there he moved to Valencia, where he devoted himself to theology, obtaining the title of doctor and the position of pavorde in the cathedral, as he stated in his will. The document also records the painter's comfortable financial situation and his extensive library, all of which consisted of religious works.
"Saint John the Evangelist", 1651.
Oil on canvas.
New stretcher. It has repainting and small losses of polychromy. It needs cleaning and restoration.
Size: 160 x 100 cm; 168 x 108 cm (frame).
The painting presents the standing figure of Saint John, one of the authors of the four canonical gospels that form part of the New Testament and supposed author of the Apocalypse. Saint John is depicted with youthful features, with a beard and brown hair. In this carving, his image is close to that usually adopted by Christ, instead of Saint John, who is normally depicted as a beardless man with short blond hair. Despite this singularity, the figure is perfectly identifiable thanks to the presence of an eagle at his feet. The eagle, a symbolic element in John, like the angel in Matthew, the lion in Mark and the bull in Luke, is taken from Old Testament writings (the visions of the prophet Ezekiel) and from the text of the Apocalypse itself. St John holds an open book in his left hand, which alludes to his status as the author of the Gospel, while in his right hand he holds another attribute, a palm, which alludes to his martyrdom. He wears a long tunic that falls to the ground and crosses in front of his waist, creating a dynamic play of folds. The figure puts one foot forward and bends the knee of the opposite leg, in a counterpoint that adds liveliness and naturalness to the figure. The clothes, moreover, are fluttered by an invisible breeze, in a dynamic play typical of early Spanish Baroque art.
The personality and work of Urbano Fos became known in 1938, when Delphine Darby assigned to the so-called "Master of Saint Roch" a group of works previously attributed to Francisco Ribalta. The most significant of these, the San Roque of the Castellón Town Hall, was later presented as the sure work of Urbano Fos, whom other documents made it possible to link to Pedro Orrente and Jerónimo Jacinto Espinosa, whose influences he would have assimilated. In 1635 he was already working in Castellón, where three years later Espinosa and Orrente valued some paintings he had done for the co-cathedral church of Santa María, one of which could be that of San Miguel and San Roque. In 1648 he was paid for two works executed for the hermitage of the Virgin of Lledó near Castellón: a lost Annunciation and a Crucified Christ that is still in place. A year later he is documented as having painted three canvases for the hospital for the apes in Castellón, known as the Casa Blanca, including a Saint Roch. In 1650 he was in Segorbe, working in the Valdecristo Charterhouse on a series of scenes from the life of Saint Bruno. From there he moved to Valencia, where he devoted himself to theology, obtaining the title of doctor and the position of pavorde in the cathedral, as he stated in his will. The document also records the painter's comfortable financial situation and his extensive library, all of which consisted of religious works.
9th November - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
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