Immaculate; Granada School, ca. 1700. Polychrome and gilded wood. Presents base of later period (XX century).

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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
  Immaculate; Granada School, ca. 1700. Polychrome and gilded wood. Presents base of later period (XX century). Size: 72 x 26 x 23 cm; 25.5 x 30 cm (base). Stylistically, it is clear the strong influence in the present work of models of the Baroque of the XVIII century of the Granada school, and not only in the iconography, but also in the model chosen as influence for the same one, in the decoration of the clothes, in the coloring, in the features of the face, etc. The Granada school, which starts from the strong influence of the Renaissance period, counted with great figures such as Pablo de Rojas, Juan Martínez Montañés (who was formed in the city with the previous one), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows the naturalism, as usual at the time, but it would always emphasize more the intimate and the recollection in some delicate images that would be somewhat similar to the rest of Andalusian schools in another series of details but that do not usually have the monumentality of the Sevillian ones. In this carving of round bulk in which the Virgin is represented in her invocation of Immaculate. Mary is shown standing on the lunar crescent, in the center of which the face of a seraph is placed. Dressed in a tunic and with a golden mantle, the Virgin joins her hands in prayerful attitude, which prints a naturalistic game of folds to the mantle. Her hair falls loose on her shoulders and back, and the features of her fine face and long neck give her a remarkable elegance, stylizing her bearing. The dogma of the Immaculate defends that the Virgin was conceived without Original Sin, and was defined and accepted by the Vatican in the Bull Ineffabilis Deus, December 8, 1854. However, Spain and all the kingdoms under its political dominion defended this belief before. Iconographically, the representation takes texts both from the Apocalypse (12: "A great sign appeared in heaven, a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars") and from the Lauretan Litany prayed after the rosary and containing epithets of Mary taken from the Song of Songs of King David. Joining both texts and after an evolution that already begins at the end of the Gothic period, we arrive at a very simple and recognizable typology that presents the Virgin on the lunar quarter, with the stars on her head and dressed in light (with a halo on the head only or on the whole body), normally dressed in white and blue in allusion to purity and eternity (although she can also appear in red and blue, in relation then with the Passion), her hands on her chest almost always and represented young as a general rule.
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