School of FRANCESCO RIZI (Madrid, 1614-San Lorenzo de El Escorial, 1685); second third of the XVIII century. "Descent from the Cross". Oil on canvas.

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Jul 14, 2021

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• Lot Description
  School of FRANCESCO RIZI (Madrid, 1614-San Lorenzo de El Escorial, 1685); second third of the XVIII century. "Descent from the Cross". Oil on canvas. Presents frame c. 1830. Size: 150 x 117.5 cm; 161 x 129.5 cm (frame). The painting represents the moment immediately after the descent of Christ from the cross. In the foreground is the lifeless body of Jesus, naked, barely covered by the "perizonium" or cloth of purity, but on the sheet that has served to take him down from the cross and will serve as a shroud to deposit him in the tomb. St. John the Evangelist, dressed in a green tunic and red cloak, with youthful and beardless features, holds the Virgin by the shoulders, while, at Christ's feet, Mary Magdalene, in a sophisticated dress, holds the hand of the deceased. Next to Christ are also Joseph of Arimathea and Nicodemus: the rich man who got the body of Christ delivered to him and buried it in a new tomb that he reserved for himself (Matthew, 27, 57-60) and the Pharisee and Jewish chief (John, 3, 1-21; 7, 50) respectively who helped St. John and the Virgin to take Christ down from the cross. Due to its technical characteristics, the work is aesthetically identified with the school of Francesco Rizi, son of the painter Antonio Rizi. In spite of his Italian origin, Francisco was born in Madrid, since his family had moved to Spain to work in El Escorial. Francisco began his training with his father, along with his brother Juan, but later continued studying with Vicente Carducho, from whom he received a great artistic influence. In 1634, he obtained contact with the Royal Audience, which was supposed to establish him as a painter. When Carducho died in 1638, he joined other painters to finish the decoration of the Golden Hall of the Alcazar of Madrid. He is known for being one of the first Spanish painters to be influenced by the Baroque style, with direct influences from the paintings of artists such as Rubens and Van Dyck. Thanks to his work, he attracted the attention of the court, so he began to work for them, carrying out numerous commissions. In addition, thanks to his collaboration with the cathedral of Toledo, he managed to become the official painter of the cathedral, a position he retained until the day of his death. In 656 he was appointed Painter to the King, thus becoming one of the most sought after artists of the time, which allowed him to open a workshop, where renowned artists such as Claudio Coello were trained. Due to his well-to-do situation in the court, he was granted permission to live in the Royal Alcazar. However, in 1671, when Juan Carreño was appointed painter to Queen Mariana, his position in the court declined, although he continued to be appreciated by religious institutions.
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