Circle of JUAN DE ROELAS (Flanders, ca. 1570 - Olivares, 1625). "Saint Ursula". Oil on canvas.

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OLD MASTERS

By Setdart Auction House

Oct 20, 2021

Set Reminder 2021-10-20 07:30:00 2021-10-20 07:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7700
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• Lot Description
  Circle of JUAN DE ROELAS (Flanders, ca. 1570 - Olivares, 1625). "Saint Ursula". Oil on canvas. Size: 130 x 84 cm.; 150 x 109 cm. (frame). The canvas presents the figure of Saint Ursula, with ecstatic expression and the neck pierced by the arrow that ended her life, framed by an oval decorated with scrolls, heraldic motifs and anthropomorphic figures, painted in grisaille, of the type that Juan de Roelas used in the series of six holy British queens, preserved in the Church of St. Michael and St. Julian of Valladolid. Juan de Roelas, of Flemish origin, as seems to be attested by a notarial document of 1594, where, together with his father, a certain Jacques, both from Flanders, he undertakes to repay a loan of 300 reales, played an essential role in the assumption of naturalistic forms in Valladolid, Seville and Madrid, where he was active until his death in Olivares, in 1625. In 1598 Roelas was active in Valladolid, where he collaborated in the design of the funerary monument of King Philip II. He would remain here until 1604, when he settled in Olivares, a town near Seville, as a protégé of the Count-Duke of Olivares. Here he would paint some of his most outstanding and monumental works, such as the Circumcision, in 1606, the Martyrdom of St. Andrew, (Museum of Fine Arts of Seville) or the Transitus of St. Isidore. In Olivares he would begin his ecclesiastical career and, in 1614, already ordained as a clergyman, he would be named royal chaplain. With this position he would move to Madrid, seeking to make a career as a court painter, although he would never obtain the title of Painter to the King, so he would return to Olivares. In the last years of his life his artistic career would pass into the background, and he dedicated himself to religious life, as a canon of the Collegiate Church of Olivares. Although it has been supposed that he had an Italian education, no document supports this hypothesis. It is certain, however, that his style connects with the Venetian school, in the warm coloring and in his balanced sense of composition. It is likely that he could have studied works by Veronese or Tintoretto. On the other hand, Roelas' style is characterized by the introduction of everyday life, even the vulgar, in compositions with religious themes, an aspect that would be highly criticized by treatises such as Francisco Pacheco, although it would be an aspect assumed, among others, by the great Velázquez. In Roelas, Romanist mannerism coexists with a naturalism that tends to tenebrism and therefore preludes some of the characteristics of the painting of the Golden Century.
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