IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Salvator mundi". Oil on canvas.

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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
  IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Salvator mundi". Oil on canvas. Size: 192 x 105 cm; 230 x 143 cm (frame). Devotional painting with the theme of the "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ, as universal savior, in relation to his role as judge in the Final Judgment and his character of Redeemer. We see Christ raising his right hand as a sign of blessing, while holding with his left hand an orb symbolizing the universe, crowned by a cross that emphasizes the universal character of Christian doctrine and the redemptive act of Christ. The most usual in this iconography is that Christ appears half-length in a strictly frontal position, reflecting the traditional hieratism of this theme of Byzantine heritage, but here the artist offers us a clearly baroque image, of triumphal character. Ignacio de Ríes was a Spanish painter, son of the Flemish painter Mateo de Ríes, from whom he possibly received his first artistic training. Between 1635 and 1645, approximately, he is documented as an official in Zurbarán's workshop, being considered one of his most important disciples. His work is characterized by a very eclectic style strongly influenced by Zurbarán's painting, as can be seen in the use of chiaroscuro and a descriptive technique that pays great attention to the qualities of the objects, among other aspects. Likewise, to create his compositions he frequently resorts to Flemish prints by authors such as Aegidius Sadeler II or Jeronimus Wierix. Although his stylistic evolution is very limited, we can place in a first stage those works more attached to the style of his master -such as the San Miguel Arcángel (The Metropolitan Museum of Art, New York)- and in a second stage those in which he uses a looser brushstroke and in which the influence of Murillo's painting can be appreciated, such as the Asunción de la Virgen, of 1661, for the church of San Bartolomé in Seville. Around 1653 he painted the most important work of his career: the paintings for the chapel of the Immaculate Conception in the cathedral of Segovia, commissioned by Pedro Fernández Miñano y Contreras to decorate the space that would serve as a funeral chapel for his family, which determines that the predominant message of the set revolves around repentance and penitence. Of all of them, the most outstanding is The Tree of Life, not only for its workmanship but also for its iconography, representing Christ's warning of the imminent arrival of Death to a group of men and women who, placed at the top of the tree, appear to be committing different capital sins. The Prado Museum preserves by his hand King David, a work of great quality that, both stylistically and iconographically, can be related to Zurbarán and his series on the sons of Jacob (Auckland Castle, Durham).
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