48
Italian school; circa 1700."Nativity".Oil on canvas.It presents slight restorations.Measurements: 69
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Description
Italian school; circa 1700.
"Nativity".
Oil on canvas.
It presents slight restorations.
Measurements: 69 x 62 cm; 78 x 69 cm (frame).
The painting shows an interior illuminated in a theatrical way the moment of the Nativity is represented. The white of the mantle which envelops the figure of the Child becomes the only point of light in the scene, to which is added slightly the treatment of the skin of Mary's face, who, unlike the other characters, presents a greater clarity. Joseph is located in the centre of the scene, as is customary in these representations, behind the Virgin and Child, while on the opposite side a group of shepherds approach to adore the King of the Jews.
In the absence of details of the Virgin's Birth in the Bible, art has turned to the Apocryphal Gospels for inspiration. The Protoevangelium of James gives the names of her parents (Joachim and Anna), and tells how she, barren, withdrew to fast in the desert for 40 days, and an angel appeared to her, who then told her husband the news. Similar accounts are found in other texts: the Gospel of the Nativity of Mary, the Armenian Gospel of the Infancy, and so on.
It should be noted that, in order to avoid the theme being confused with another birth (such as that of St John the Baptist), this scene usually appeared as part of a cycle in most cases, accompanied by other themes that would clarify beyond doubt the identity of the protagonist of the work. While this theatrical use of light may be associated with the Italian Baroque tenebrist movement, its influence is ruled out by a series of other elements that reveal the painting's relationship with the Italian Classicist Baroque of the Carracci. The vivid colouring does not present violent contrasts between illuminated areas and dark ones, and within the naturalism of the figures there is also a clear idealisation of them, the corporeality of the figures and their classicist anatomy, the attention to the gestures that create a dialogue and direct the viewer's gaze through the work, the diagonal compositions in which the horizontality is nevertheless predominant, etc.
"Nativity".
Oil on canvas.
It presents slight restorations.
Measurements: 69 x 62 cm; 78 x 69 cm (frame).
The painting shows an interior illuminated in a theatrical way the moment of the Nativity is represented. The white of the mantle which envelops the figure of the Child becomes the only point of light in the scene, to which is added slightly the treatment of the skin of Mary's face, who, unlike the other characters, presents a greater clarity. Joseph is located in the centre of the scene, as is customary in these representations, behind the Virgin and Child, while on the opposite side a group of shepherds approach to adore the King of the Jews.
In the absence of details of the Virgin's Birth in the Bible, art has turned to the Apocryphal Gospels for inspiration. The Protoevangelium of James gives the names of her parents (Joachim and Anna), and tells how she, barren, withdrew to fast in the desert for 40 days, and an angel appeared to her, who then told her husband the news. Similar accounts are found in other texts: the Gospel of the Nativity of Mary, the Armenian Gospel of the Infancy, and so on.
It should be noted that, in order to avoid the theme being confused with another birth (such as that of St John the Baptist), this scene usually appeared as part of a cycle in most cases, accompanied by other themes that would clarify beyond doubt the identity of the protagonist of the work. While this theatrical use of light may be associated with the Italian Baroque tenebrist movement, its influence is ruled out by a series of other elements that reveal the painting's relationship with the Italian Classicist Baroque of the Carracci. The vivid colouring does not present violent contrasts between illuminated areas and dark ones, and within the naturalism of the figures there is also a clear idealisation of them, the corporeality of the figures and their classicist anatomy, the attention to the gestures that create a dialogue and direct the viewer's gaze through the work, the diagonal compositions in which the horizontality is nevertheless predominant, etc.
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Italian school; circa 1700.
"Nativity".
Oil on canvas.
It presents slight restorations.
Measurements: 69 x 62 cm; 78 x 69 cm (frame).
The painting shows an interior illuminated in a theatrical way the moment of the Nativity is represented. The white of the mantle which envelops the figure of the Child becomes the only point of light in the scene, to which is added slightly the treatment of the skin of Mary's face, who, unlike the other characters, presents a greater clarity. Joseph is located in the centre of the scene, as is customary in these representations, behind the Virgin and Child, while on the opposite side a group of shepherds approach to adore the King of the Jews.
In the absence of details of the Virgin's Birth in the Bible, art has turned to the Apocryphal Gospels for inspiration. The Protoevangelium of James gives the names of her parents (Joachim and Anna), and tells how she, barren, withdrew to fast in the desert for 40 days, and an angel appeared to her, who then told her husband the news. Similar accounts are found in other texts: the Gospel of the Nativity of Mary, the Armenian Gospel of the Infancy, and so on.
It should be noted that, in order to avoid the theme being confused with another birth (such as that of St John the Baptist), this scene usually appeared as part of a cycle in most cases, accompanied by other themes that would clarify beyond doubt the identity of the protagonist of the work. While this theatrical use of light may be associated with the Italian Baroque tenebrist movement, its influence is ruled out by a series of other elements that reveal the painting's relationship with the Italian Classicist Baroque of the Carracci. The vivid colouring does not present violent contrasts between illuminated areas and dark ones, and within the naturalism of the figures there is also a clear idealisation of them, the corporeality of the figures and their classicist anatomy, the attention to the gestures that create a dialogue and direct the viewer's gaze through the work, the diagonal compositions in which the horizontality is nevertheless predominant, etc.
"Nativity".
Oil on canvas.
It presents slight restorations.
Measurements: 69 x 62 cm; 78 x 69 cm (frame).
The painting shows an interior illuminated in a theatrical way the moment of the Nativity is represented. The white of the mantle which envelops the figure of the Child becomes the only point of light in the scene, to which is added slightly the treatment of the skin of Mary's face, who, unlike the other characters, presents a greater clarity. Joseph is located in the centre of the scene, as is customary in these representations, behind the Virgin and Child, while on the opposite side a group of shepherds approach to adore the King of the Jews.
In the absence of details of the Virgin's Birth in the Bible, art has turned to the Apocryphal Gospels for inspiration. The Protoevangelium of James gives the names of her parents (Joachim and Anna), and tells how she, barren, withdrew to fast in the desert for 40 days, and an angel appeared to her, who then told her husband the news. Similar accounts are found in other texts: the Gospel of the Nativity of Mary, the Armenian Gospel of the Infancy, and so on.
It should be noted that, in order to avoid the theme being confused with another birth (such as that of St John the Baptist), this scene usually appeared as part of a cycle in most cases, accompanied by other themes that would clarify beyond doubt the identity of the protagonist of the work. While this theatrical use of light may be associated with the Italian Baroque tenebrist movement, its influence is ruled out by a series of other elements that reveal the painting's relationship with the Italian Classicist Baroque of the Carracci. The vivid colouring does not present violent contrasts between illuminated areas and dark ones, and within the naturalism of the figures there is also a clear idealisation of them, the corporeality of the figures and their classicist anatomy, the attention to the gestures that create a dialogue and direct the viewer's gaze through the work, the diagonal compositions in which the horizontality is nevertheless predominant, etc.
22nd November - Old Masters
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