43
Andalusian school; late 17th century."Niño de la Espina y San Juanito".Oil on canvas.Preserves
1/5
Description
Andalusian school; late 17th century.
"Niño de la Espina y San Juanito".
Oil on canvas.
Preserves original canvas.
It has restorations.
It has a 17th century frame with faults.
Measurements: 51 x 73 cm; 70 x 92 cm (frame).
Placed on a complete dark and inconcrete background, the figure of the Child Jesus is represented, seated and with the crown of thorns on his knees, remembering the evangelical passage of the Passion. In the background, on the left-hand side of the scene, is the figure of a half-naked boy, who probably represents Saint John, the Christ Child's cousin. One of the most decisive aspects of the work is the gesture adopted by the figure, whose hands are arranged in such a way that he seems to have pierced himself with a thorn, although his face shows no sign of pain, but rather an expectant gesture whose gaze is directed upwards as if seeking a divine response. This theme, perhaps derived from works in which the Holy Family is located in the workshop of Saint Joseph, links the figure of the Child with the Passion in a very subtle manner. By sticking a splinter in a finger, which he is trying to pull out, they saw in the Baroque a "gentle foreshadowing" of the Passion.
This kind of relationship with important themes was very common in Catholic Baroque painting, in which the Counter-Reformation encouraged a series of themes to support everything that the Protestants attacked. Subjects similar to the present one were depicted with the gentleness that was then considered appropriate for women's convents, hence devotion to the Infant Jesus was encouraged above all by this type of institution. The total absence of the usual drama of Baroque painting is striking. Stylistically, there is a strong relationship with leading Andalusian Baroque painters such as Murillo - who was the first to paint in the Baroque period - and the second in the Baroque period.
"Niño de la Espina y San Juanito".
Oil on canvas.
Preserves original canvas.
It has restorations.
It has a 17th century frame with faults.
Measurements: 51 x 73 cm; 70 x 92 cm (frame).
Placed on a complete dark and inconcrete background, the figure of the Child Jesus is represented, seated and with the crown of thorns on his knees, remembering the evangelical passage of the Passion. In the background, on the left-hand side of the scene, is the figure of a half-naked boy, who probably represents Saint John, the Christ Child's cousin. One of the most decisive aspects of the work is the gesture adopted by the figure, whose hands are arranged in such a way that he seems to have pierced himself with a thorn, although his face shows no sign of pain, but rather an expectant gesture whose gaze is directed upwards as if seeking a divine response. This theme, perhaps derived from works in which the Holy Family is located in the workshop of Saint Joseph, links the figure of the Child with the Passion in a very subtle manner. By sticking a splinter in a finger, which he is trying to pull out, they saw in the Baroque a "gentle foreshadowing" of the Passion.
This kind of relationship with important themes was very common in Catholic Baroque painting, in which the Counter-Reformation encouraged a series of themes to support everything that the Protestants attacked. Subjects similar to the present one were depicted with the gentleness that was then considered appropriate for women's convents, hence devotion to the Infant Jesus was encouraged above all by this type of institution. The total absence of the usual drama of Baroque painting is striking. Stylistically, there is a strong relationship with leading Andalusian Baroque painters such as Murillo - who was the first to paint in the Baroque period - and the second in the Baroque period.
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Andalusian school; late 17th century.
"Niño de la Espina y San Juanito".
Oil on canvas.
Preserves original canvas.
It has restorations.
It has a 17th century frame with faults.
Measurements: 51 x 73 cm; 70 x 92 cm (frame).
Placed on a complete dark and inconcrete background, the figure of the Child Jesus is represented, seated and with the crown of thorns on his knees, remembering the evangelical passage of the Passion. In the background, on the left-hand side of the scene, is the figure of a half-naked boy, who probably represents Saint John, the Christ Child's cousin. One of the most decisive aspects of the work is the gesture adopted by the figure, whose hands are arranged in such a way that he seems to have pierced himself with a thorn, although his face shows no sign of pain, but rather an expectant gesture whose gaze is directed upwards as if seeking a divine response. This theme, perhaps derived from works in which the Holy Family is located in the workshop of Saint Joseph, links the figure of the Child with the Passion in a very subtle manner. By sticking a splinter in a finger, which he is trying to pull out, they saw in the Baroque a "gentle foreshadowing" of the Passion.
This kind of relationship with important themes was very common in Catholic Baroque painting, in which the Counter-Reformation encouraged a series of themes to support everything that the Protestants attacked. Subjects similar to the present one were depicted with the gentleness that was then considered appropriate for women's convents, hence devotion to the Infant Jesus was encouraged above all by this type of institution. The total absence of the usual drama of Baroque painting is striking. Stylistically, there is a strong relationship with leading Andalusian Baroque painters such as Murillo - who was the first to paint in the Baroque period - and the second in the Baroque period.
"Niño de la Espina y San Juanito".
Oil on canvas.
Preserves original canvas.
It has restorations.
It has a 17th century frame with faults.
Measurements: 51 x 73 cm; 70 x 92 cm (frame).
Placed on a complete dark and inconcrete background, the figure of the Child Jesus is represented, seated and with the crown of thorns on his knees, remembering the evangelical passage of the Passion. In the background, on the left-hand side of the scene, is the figure of a half-naked boy, who probably represents Saint John, the Christ Child's cousin. One of the most decisive aspects of the work is the gesture adopted by the figure, whose hands are arranged in such a way that he seems to have pierced himself with a thorn, although his face shows no sign of pain, but rather an expectant gesture whose gaze is directed upwards as if seeking a divine response. This theme, perhaps derived from works in which the Holy Family is located in the workshop of Saint Joseph, links the figure of the Child with the Passion in a very subtle manner. By sticking a splinter in a finger, which he is trying to pull out, they saw in the Baroque a "gentle foreshadowing" of the Passion.
This kind of relationship with important themes was very common in Catholic Baroque painting, in which the Counter-Reformation encouraged a series of themes to support everything that the Protestants attacked. Subjects similar to the present one were depicted with the gentleness that was then considered appropriate for women's convents, hence devotion to the Infant Jesus was encouraged above all by this type of institution. The total absence of the usual drama of Baroque painting is striking. Stylistically, there is a strong relationship with leading Andalusian Baroque painters such as Murillo - who was the first to paint in the Baroque period - and the second in the Baroque period.
22nd November - Old Masters
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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