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Andalusian school; late 17th century."Saint Joseph with Child".Oil on canvas. Re-framed.It has a
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Description
Andalusian school; late 17th century.
"Saint Joseph with Child".
Oil on canvas. Re-framed.
It has a 20th century frame, following ancient models.
Measurements: 77 x 58 cm; 137 x 93 cm (frame).
In this piece the author presents us a devotional scene, which stands out for the tenderness that the author tries to transmit to the spectator. To this end, he arranges Saint Joseph with the Child in his arms in the centre of the composition, with a very close gesture between the two, who look at each other tenderly, ignoring the presence of the spectator. The technique is notable for its vaporous brushstrokes, resulting in an atmospheric image full of blurring, which creates a suggestive veiled image. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent childhood of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. In later times, as in this case, family values were emphasised that were more in harmony with the cultural change that was taking place in the conception of the family environment. The 17th century saw the arrival of the Baroque in Andalusian schools, 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 Joseph with Child".
Oil on canvas. Re-framed.
It has a 20th century frame, following ancient models.
Measurements: 77 x 58 cm; 137 x 93 cm (frame).
In this piece the author presents us a devotional scene, which stands out for the tenderness that the author tries to transmit to the spectator. To this end, he arranges Saint Joseph with the Child in his arms in the centre of the composition, with a very close gesture between the two, who look at each other tenderly, ignoring the presence of the spectator. The technique is notable for its vaporous brushstrokes, resulting in an atmospheric image full of blurring, which creates a suggestive veiled image. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent childhood of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. In later times, as in this case, family values were emphasised that were more in harmony with the cultural change that was taking place in the conception of the family environment. The 17th century saw the arrival of the Baroque in Andalusian schools, 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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Andalusian school; late 17th century.
"Saint Joseph with Child".
Oil on canvas. Re-framed.
It has a 20th century frame, following ancient models.
Measurements: 77 x 58 cm; 137 x 93 cm (frame).
In this piece the author presents us a devotional scene, which stands out for the tenderness that the author tries to transmit to the spectator. To this end, he arranges Saint Joseph with the Child in his arms in the centre of the composition, with a very close gesture between the two, who look at each other tenderly, ignoring the presence of the spectator. The technique is notable for its vaporous brushstrokes, resulting in an atmospheric image full of blurring, which creates a suggestive veiled image. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent childhood of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. In later times, as in this case, family values were emphasised that were more in harmony with the cultural change that was taking place in the conception of the family environment. The 17th century saw the arrival of the Baroque in Andalusian schools, 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 Joseph with Child".
Oil on canvas. Re-framed.
It has a 20th century frame, following ancient models.
Measurements: 77 x 58 cm; 137 x 93 cm (frame).
In this piece the author presents us a devotional scene, which stands out for the tenderness that the author tries to transmit to the spectator. To this end, he arranges Saint Joseph with the Child in his arms in the centre of the composition, with a very close gesture between the two, who look at each other tenderly, ignoring the presence of the spectator. The technique is notable for its vaporous brushstrokes, resulting in an atmospheric image full of blurring, which creates a suggestive veiled image. Until the Counter-Reformation, the figure of Saint Joseph was usually relegated to the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent childhood of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. In later times, as in this case, family values were emphasised that were more in harmony with the cultural change that was taking place in the conception of the family environment. The 17th century saw the arrival of the Baroque in Andalusian schools, 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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