Andalusian School; circa 1760. "Saint Joaquin".

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DECORATIVE ARTS XV-XIX

By Setdart Auction House

Jul 13, 2021

Set Reminder 2021-07-13 07:00:00 2021-07-13 07:00:00 America/New_York Bidsquare Bidsquare : DECORATIVE ARTS XV-XIX https://www.bidsquare.com/auctions/setdart-auction-house/decorative-arts-xv-xix-7201
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• Lot Description
  Andalusian School; circa 1760. "Saint Joaquin". Carved wood, polychrome and stewed. Vitreous paste eyes. It presents faults in the carving and polychrome, in addition to a base of a later period. Measures: 102 x 52 x 34 cm. In this work in wood of round bulk, the author presents us a carving of devotional character in which a richly dressed male figure turns his face to the ground in a meditative and even melancholic attitude. Due to the fact that with his right hand he holds a cane, the lower part of which has been lost, this image can be identified with the representation of Saint Joaquin. According to tradition, Joachim was from Nazareth, in the region of Galilee and a descendant of King David. He was the husband of Anna and the father of Mary, mother of Jesus, according to Catholic, Orthodox and Anglican tradition. The story of Joachim and Anna first appeared in the apocryphal Gospel of James. Joachim and Anna are not mentioned in the Bible. According to tradition, Anne was born in Bethlehem, a region of Judea, and married Joachim, who was from Nazareth, a region of Galilee. Both were descendants of King David. In the Gospel of James, Jehoiachin is described as a rich and pious man, who used to give donations to the poor and to the synagogue of Sepphoris. However, the high priest rejected Jehoiachin and his animal sacrifice in the temple because his childlessness was interpreted as a sign of divine disapproval. Jehoiachin went into the desert and fasted for forty days as penance. Angels appeared to both Joachim and Anna to tell them that they would have a son. After this, Joachim returned to Jerusalem and embraced Hannah at a gate of the city. Within this panorama, the leading role played by the Andalusian school of sculpture during the period that has come to be called the Golden Age is evident; to it belong a series of masters of unquestionable worth who knew how to combine in their works the extraordinary technical quality and religious depth. from the first decades of the century, masters of different origins began to constantly come to the city seeking the American market and the potential Sevillian clientele, increasingly attracted by the new artistic forms arriving from Italy. Italian, French and Flemish masters, with varying degrees of knowledge of the new aesthetics, alternate with artists from Castilian lands, who have also come into contact with the prevailing artistic currents in the Italian peninsula, thus becoming the most sought after in the art market. The teachings of all of them, together with the classical substratum inherent to the Andalusian culture itself, will constitute the foundations on which the Andalusian sculptural school will be built.
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