Spanish school; 17th century. "Asunción de la Virgen" Oil on canvas. Relined.

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21st September - ARAS JÁUREGUI Private Collec...

By Setdart Auction House

Sep 21, 2021

Set Reminder 2021-09-21 10:00:00 2021-09-21 10:00:00 America/New_York Bidsquare Bidsquare : 21st September - ARAS JÁUREGUI Private Collection - Old Masters, 19th & 20th Century https://www.bidsquare.com/auctions/setdart-auction-house/21st-september---aras-j-uregui-private-collection---old-masters-19th-20th-century-7429
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• Lot Description
  Spanish school; 17th century. "Asunción de la Virgen" Oil on canvas. Relined. Presents xylophagous remains and 19th century frame. Needs cleaning. Measurements: 74,5 x 75 cm. The Assumption of the Virgin is a narration that comes from the apocryphal writings of the prophet Elias and it was only declared dogma of faith in 1950. The legend of Elijah tells how the Virgin ascended to heaven, with the help of angels, while being watched attentively by the apostles. The expression Assumption is significant: it is opposed to Ascension, like the passive to the active. In other words, Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. Byzantine art depicts the Assumption of the Virgin's soul, taken up by Christ on his deathbed. Western art, on the other hand, depicts her bodily Assumption outside the tomb where the apostles had buried her. A distinction must therefore be made in iconography between the Assumption of the Virgin's soul in the form of a child and the Assumption of her glorious body, the latter being the one depicted here. The European model presents Mary in a prayerful attitude, with joined hands, surrounded by golden light, carried by angels and leaving the open tomb at her feet, which may appear empty or filled with lilies and roses. As a result of iconographic confusion, the Assumption loses its original character and becomes the Ascension, as is the case in the present work. Instead of being lifted up by angels, the Virgin flies alone, with her arms outstretched; the angels around her merely form a procession. This transformation was consummated in 16th-century Italian art, and gradually spread to the rest of Europe. However, this new formula did not eliminate the old one, examples of which can be found in the 17th century. Due to its formal characteristics, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who nevertheless competed on equal terms with contemporary Italian artists and was of major international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci.
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