Madrid school; 17th century. "Virgin of the Solitude". Oil on canvas. Relined.

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Old Masters

By Setdart Auction House

Jun 30, 2021

Set Reminder 2021-06-30 08:30:00 2021-06-30 08:30:00 America/New_York Bidsquare Bidsquare : Old Masters https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7134
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• Lot Description
  Madrid school; 17th century. "Virgin of the Solitude". Oil on canvas. Relined. Presents repaints, restorations and damage to the frame. It has a frame following old models. Measures: 146 x 96 cm; 159 x 109 cm (frame). Baroque painting of Madrid school, very close to the work of Alonso del Arco, whose Virgin of Solitude are preserved following this same compositional model.Nuestra Señora de la Soledad is a variant of the advocation of the Virgin Mary of the title of Nuestra Señora de los Dolores. Although 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, it has its roots in the spread throughout Europe, thanks especially to the Servites, the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The Virgen de la Paloma is a Marian devotion typical of the city of Madrid, and her image is in the center of the altarpiece of the parish of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children in a lot adjacent to the street of La Paloma, in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it, placing it in the doorway of her house. Several miracles were soon attributed to the image, so its cult spread rapidly, and in 1795 a chapel was built to house it. The one we present here is a faithful copy, although partial, of the original canvas, which shows Mary with a gesture of pain, dressed in mourning and adorned with a silver crown. As already mentioned, the piece, which follows the models of some of Alonso del Arco's works, is defined by a theatrical representation, where the Virgin is inscribed in a semicircular arch that delimits the space. The darkness of this space and the lack of anecdotal elements that distort the composition, invite the viewer to focus his gaze on the Virgin, who stands out for the white of her clothes, the clarity of her face, and the brightness of her crown. It is inevitable to mention the repentance, which can be seen in the Rosary hanging from Mary's neck, which shows us the artist's hand, his personal taste and his decisions when composing the scene.
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