Circle of ALONSO DEL ARCO, XVII century (Madrid, 1635 - 1704). "Virgin of Solitude with Antonio Abad", 1612. Oil on copper. Dated on the back.

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OLD MASTERS & SCULPTURE - Day 2

By Setdart Auction House

Jun 1, 2021

Set Reminder 2021-06-01 09:45:00 2021-06-01 09:45:00 America/New_York Bidsquare Bidsquare : OLD MASTERS & SCULPTURE - Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-sculpture---day-2-6999
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• Lot Description
  Circle of ALONSO DEL ARCO, XVII century (Madrid, 1635 - 1704). "Virgin of Solitude with Antonio Abad", 1612. Oil on copper. Dated on the back. Measures: 23 x 15 cm; 26 x 18 cm (frame). Baroque painting of Madrid school, very close to the work of Alonso del Arco, of whom are preserved Virgins of the Solitude that follow this same compositional model: the praying Virgin, standing, in silver niche embossed with cherubs and mandorla type border. In this case she is accompanied by Saint Anthony Abbot, the founder of the eremitic movement, holding in his hands a cartouche with the legend "charity". Stylistically, the emphasis on drawing is balanced by a precise tonal work that highlights the variety of textures and qualities, of clothing, flesh tones and liturgical objects. Our Lady of Solitude is a variant of the advocation of the Virgin Mary of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this advocation that spread throughout the Christian world. However, it has its roots in the diffusion throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. Alonso del Arco was a painter from Madrid in the late seventeenth century, a disciple of Antonio de Pereda and deaf from birth, so he was known as "el sordillo de Pereda". Although he began painting in a style very close to that of his master, he soon distanced himself, evolving towards more advanced Baroque forms. Palomino highlighted his gifts as a portraitist, mentioning the series of generals of the Orders of San Juan de Dios and the Merced Calzada, although few portraits by his hand have been preserved to this day. Nevertheless, in his religious works one can appreciate this facility for portraiture, as we can see in the busts of saints in ovals that occupy the intrados of the altar arch of San Felipe Neri in the Trinitarias Descalzas in Madrid, one of his most important works. Likewise, in 1679 he collaborated with Claudio Coello, José Jiménez Donoso and Matías de Torres, among others, in the ephemeral decorations for the entrance into Madrid of María Luisa de Orleans, despite all this, his main theme was religious, which he cultivated for temples in Madrid, Toledo and Valladolid. He used Flemish engravings as a base for many of his compositions, something that was criticized by Palomino himself, but which helped Alonso del Arco to work faster and at a lower cost.works by his hand are currently preserved in the Prado Museum, the Santa Cruz Museum in Toledo, the Lázaro Galdiano Museum in Madrid, the Fine Arts Museum of Asturias and other public and private collections.
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