ANTONIO DEL CASTILLO Y SAAVEDRA (Córdoba, 1616 - 1668). "Saint Dominic of Guzman. Oil on canvas.

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Córdoba: 2,000 Years of Art

By Setdart Auction House

Dec 21, 2021

Set Reminder 2021-12-21 07:30:00 2021-12-21 07:30:00 America/New_York Bidsquare Bidsquare : Córdoba: 2,000 Years of Art https://www.bidsquare.com/auctions/setdart-auction-house/c-rdoba-2-000-years-of-art-8049
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  ANTONIO DEL CASTILLO Y SAAVEDRA (Córdoba, 1616 - 1668). "Saint Dominic of Guzman. Oil on canvas. Measurements: 35 x 20 cm, 45 x 30 cm (frame). Saint Dominic of Guzman, born in Castile in 1170, was the founder of the Order of Preachers, better known as Dominicans. During his childhood he received a careful moral and cultural formation, finally awakening his vocation towards the ecclesiastical state. After studying humanities, theology and philosophy in Palencia, where he was also a professor, he was ordained a priest, and was finally named ambassador extraordinary by King Alfonso VIII of Castile. After obtaining in 1216 the authorization to found his order, he devoted his last years to its organization and to several missionary journeys to France and Italy. Legend, however, has added much to his biography. Numerous miracles were also attributed to the saint during his preaching, especially the resurrection of a young man who died from a fall from a horse and the rescue of some pilgrims who were going to drown while trying to cross the Garonne to Santiago de Compostela. It also has an extensive iconography related to all these episodes, including symbols such as the dog with the torch, the white lilac, the star, the cross, the standard and the holy rosary, the book and the church and the three mitres. One of the most outstanding episodes of his legend is the apparition to the saint of the Virgin of the Rosary. The tradition, which began in the 15th century, tells that the mother of God herself taught Saint Dominic to pray the rosary in 1208, telling him to propagate this devotion and to use it as a powerful weapon against the enemies of the faith. Appearing in the chapel where the saint was praying, holding a rosary in his hand, he taught him to recite it, promising that many sinners would be converted and obtain abundant graces. St. Dominic left there full of zeal, with the rosary in his hand. Indeed he preached it, and with great success, achieving that many Albingenses returned to the Catholic faith. Antonio Castillo is considered the father of the Cordovan school, known for his work as a painter, he was also a polychromator and designer of architectural, decorative and goldsmith projects. He was the son of Agustín del Castillo, a little known painter from Llerena (Extremadura) whom Palomino describes as "an excellent painter". It is also believed that he may have trained as a polychromator in Calderón's workshop. However, he was orphaned when he was only ten years old, in 1626, and went on to develop his training in the workshop of another painter of whom we have no news, Ignacio Aedo Calderón. Although there is no real evidence of this, it is believed that he may have arrived in Seville, where, according to Palomino, he entered Zurbarán's workshop. This has been corroborated by the stylistic influence of the master from Extremadura that historians have seen in Castillo's work. However, in 1635 he was back in his native Cordoba, where he married and settled permanently, to finally become without discussion the most important artist of the city. His fame and quality earned him important commissions, including religious altarpieces, portraits and medium-sized series. He was also the teacher of outstanding Cordovan painters of the following generation, such as Juan de Alfaro y Gámez. Regarding his language, Antonio del Castillo did not develop an evident evolution in his work, although towards the end of his life a more softened language can be appreciated, and he kept away from the baroque novelties of other contemporary painters. However, like the rest of his contemporaries, he was seduced by the novelty of Murillo's work, and in his last years he would introduce the Venetian chromatic softness of the Sevillian master.
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