Circle of JUAN MARTINEZ MONTAÑES (Alcalá la Real, Jaén, 1568 - Seville, 1649). "San Antonio de Padua, and San Antón". Carved and polychrome wood.

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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 JUAN MARTINEZ MONTAÑES (Alcalá la Real, Jaén, 1568 - Seville, 1649). "San Antonio de Padua, and San Antón". Carved and polychrome wood. Measures: 126 x 46 x 18 cm (x2). Pair of reliefs presenting a gilded rectangular structure, in which is inscribed the figure of a saint, made in high relief. Crowned by a landscape that is arranged in a border, in the upper zone. Both reliefs, independent, present the same structure and composition, although they differ in the personification of the Saint, which in each of the cases is different, and possesses iconographic attributes characteristic of each Saint. The landscape also differs, which although very similar, in one of the reliefs, presents a much more developed architectural ensemble, as if it were an urban evolution of the other pictorial composition. As for the saints represented, they can be understood as Saint Anthony of Padua and Saint Anton. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He is depicted as a beardless youth with a broad monastic tonsure, dressed in the brown habit of the Franciscans. One of his most frequent attributes is the book, which identifies him as a sacred writer. Another distinctive iconographic feature is the branch of lily, an element taken from his panegyrist Bernardino de Siena. St. Anthony is usually presented with the Child Jesus, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, in 1220 he entered the Order of Friars Minor, where he changed his first name, Fernando, to Antonio. After teaching theology in Bologna, he traveled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he participated in the general chapter of Assisi. In 1230 he was in charge of the transfer of the remains of St. Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonized only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century on, he became, at first, the national saint of the Portuguese, who placed the churches they built abroad under his patronage, and then a universal saint. Saint Anthony Abbot, also known as Saint Anton. He was a Christian monk, considered founder of the eremitical movement, model of Christian piety and with a life full of apparitions, among which the most known are his resistance to temptations. This pair of reliefs is stylistically fully inscribed in the Spanish Baroque, revealing a special influence of the great master of the Sevillian sculptural school of the XVII century, Juan Martínez Montañés. The material preferred by Montañés was always the polychrome wood, counting for it with the collaboration of great painters, among them Francisco Pacheco, Velázquez's teacher. He enjoyed great fame and popularity, becoming known in Seville as "the god of wood" and in Madrid as "the Andalusian Lysippus". His art, which he transmitted to his disciples in his workshop, was inspired above all in the natural, denoting more classicist characteristics, at times, than baroque. However, towards the end of his career he evolved towards a fully baroque realism. Formally, classical elegance and harmony stand out, the basis of baroque works of mountain influence. It is, above all, a fully naturalistic work, idealized in terms of the subject matter, but of great verism and expressiveness. In the Sevillian environment, the seventeenth century was a time of enormous economic and, therefore, artistic boom.
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