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Sevillian school, second half of the 17th century."Saint John of Patmos".Oil on panel.
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Description
Sevillian school, second half of the 17th century.
"Saint John of Patmos".
Oil on panel.
Measurements: 10 x 11.5 cm; 41 x 36 cm (frame).
In this work the author gathers a religious story, in which one of the main parts of the Apocalypse of St. John is narrated, which gathers the revelations that the Evangelist had in Patmos. The text of Revelation states that John was on Patmos, a Greek island where, according to most biblical historians, he is considered to have been exiled as a result of anti-Christian persecution under the Roman Emperor Domitian. It was in a cave where he heard a voice "as of a trumpet" (Book of Revelation:10). When he turned around, he saw the figure of the Son of Man. However, this image does not show the visions that are recorded in the Book of Revelation, also known as the Book of Revelation. The most poetic and conceptual of the four evangelists, John the Evangelist is often assimilated to the figure of the "beloved disciple", and writings tell us that after the martyrdom of Peter and Paul he settled in Ephesus. Tradition has it that he was taken to Rome, where the Emperor Domitian ordered him to be burned with boiling oil. He is not considered a martyred apostle according to tradition, as he was saved from martyrdom and banished to the island of Patmos, where he wrote the Apocalypse. Saint John the Evangelist is one of the figures who appears most frequently in the narratives and plastic representations of the Passion of Christ. He is often depicted at the foot of the cross next to the Virgin, and it was he who laid his head on Jesus' chest at the Last Supper, when the name of the disciple who was to betray his master was revealed to him.
The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Saint John of Patmos".
Oil on panel.
Measurements: 10 x 11.5 cm; 41 x 36 cm (frame).
In this work the author gathers a religious story, in which one of the main parts of the Apocalypse of St. John is narrated, which gathers the revelations that the Evangelist had in Patmos. The text of Revelation states that John was on Patmos, a Greek island where, according to most biblical historians, he is considered to have been exiled as a result of anti-Christian persecution under the Roman Emperor Domitian. It was in a cave where he heard a voice "as of a trumpet" (Book of Revelation:10). When he turned around, he saw the figure of the Son of Man. However, this image does not show the visions that are recorded in the Book of Revelation, also known as the Book of Revelation. The most poetic and conceptual of the four evangelists, John the Evangelist is often assimilated to the figure of the "beloved disciple", and writings tell us that after the martyrdom of Peter and Paul he settled in Ephesus. Tradition has it that he was taken to Rome, where the Emperor Domitian ordered him to be burned with boiling oil. He is not considered a martyred apostle according to tradition, as he was saved from martyrdom and banished to the island of Patmos, where he wrote the Apocalypse. Saint John the Evangelist is one of the figures who appears most frequently in the narratives and plastic representations of the Passion of Christ. He is often depicted at the foot of the cross next to the Virgin, and it was he who laid his head on Jesus' chest at the Last Supper, when the name of the disciple who was to betray his master was revealed to him.
The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
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Sevillian school, second half of the 17th century.
"Saint John of Patmos".
Oil on panel.
Measurements: 10 x 11.5 cm; 41 x 36 cm (frame).
In this work the author gathers a religious story, in which one of the main parts of the Apocalypse of St. John is narrated, which gathers the revelations that the Evangelist had in Patmos. The text of Revelation states that John was on Patmos, a Greek island where, according to most biblical historians, he is considered to have been exiled as a result of anti-Christian persecution under the Roman Emperor Domitian. It was in a cave where he heard a voice "as of a trumpet" (Book of Revelation:10). When he turned around, he saw the figure of the Son of Man. However, this image does not show the visions that are recorded in the Book of Revelation, also known as the Book of Revelation. The most poetic and conceptual of the four evangelists, John the Evangelist is often assimilated to the figure of the "beloved disciple", and writings tell us that after the martyrdom of Peter and Paul he settled in Ephesus. Tradition has it that he was taken to Rome, where the Emperor Domitian ordered him to be burned with boiling oil. He is not considered a martyred apostle according to tradition, as he was saved from martyrdom and banished to the island of Patmos, where he wrote the Apocalypse. Saint John the Evangelist is one of the figures who appears most frequently in the narratives and plastic representations of the Passion of Christ. He is often depicted at the foot of the cross next to the Virgin, and it was he who laid his head on Jesus' chest at the Last Supper, when the name of the disciple who was to betray his master was revealed to him.
The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Saint John of Patmos".
Oil on panel.
Measurements: 10 x 11.5 cm; 41 x 36 cm (frame).
In this work the author gathers a religious story, in which one of the main parts of the Apocalypse of St. John is narrated, which gathers the revelations that the Evangelist had in Patmos. The text of Revelation states that John was on Patmos, a Greek island where, according to most biblical historians, he is considered to have been exiled as a result of anti-Christian persecution under the Roman Emperor Domitian. It was in a cave where he heard a voice "as of a trumpet" (Book of Revelation:10). When he turned around, he saw the figure of the Son of Man. However, this image does not show the visions that are recorded in the Book of Revelation, also known as the Book of Revelation. The most poetic and conceptual of the four evangelists, John the Evangelist is often assimilated to the figure of the "beloved disciple", and writings tell us that after the martyrdom of Peter and Paul he settled in Ephesus. Tradition has it that he was taken to Rome, where the Emperor Domitian ordered him to be burned with boiling oil. He is not considered a martyred apostle according to tradition, as he was saved from martyrdom and banished to the island of Patmos, where he wrote the Apocalypse. Saint John the Evangelist is one of the figures who appears most frequently in the narratives and plastic representations of the Passion of Christ. He is often depicted at the foot of the cross next to the Virgin, and it was he who laid his head on Jesus' chest at the Last Supper, when the name of the disciple who was to betray his master was revealed to him.
The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
22nd November - Old Masters
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