53
Spanish school, 17th century."The Flagellation of Christ".Oil on canvas.Relined.Period frame and
1/7
Description
Spanish school, 17th century.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Spanish school, 17th century.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
22nd 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
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
