Sevillian school; late sixteenth century. "Christ". Polychrome lead casting.

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Old Masters, Day 2

By Setdart Auction House

Nov 25, 2021

Set Reminder 2021-11-25 08:30:00 2021-11-25 08:30:00 America/New_York Bidsquare Bidsquare : Old Masters, Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-day-2-7886
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• Lot Description

  Sevillian school; late sixteenth century. "Christ". Polychrome lead casting. It has slight losses of polychrome. Measurements: 19 x 18,5 cm. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with the eyes open and the body erect; the patiens is represented dead, with the will totally emptied (kenosis), the head inclined, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth (curved). In the Sevillian environment, the sixteenth century was a time of enormous economic and, therefore, also artistic boom, and it is in the last quarter of this century when Juan Martínez Montañés, who is considered one of the main figures of the Sevillian sculptural school and whose style united a certain classicism with, already, a slight baroque style, took up residence in this city. In addition, his workshop was a kind of "training school" for artists who would shape the Sevillian Baroque in sculpture: it is necessary to mention Juan de Mesa, Alonso Cano (both of whom introduced a greater Baroque style), etc. In the second third of the 17th century José Arce or Aertz introduces more Berninesque Baroque forms, and Pedro Roldán is the head and head of an important family workshop (also highlighting his daughter María Luisa Roldán, his grandson Pedro Duque y Cornejo, etc.). Towards the end, Francisco Ruiz Gijón, Benito de Hita y Castillo, José Montes de Oca (still following the forms of Montañés), etc. are usually highlighted. This type of works were very common in the Baroque, with the main objective of reaching the faithful through feeling, and although they were also made for churches and private oratories.

  Dimensions:
  19 x 18,5 cm.

  INV Number:
  35121914
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