Spanish school from the second half of the 18th century. "Saint Joseph with the Child" and "Saint Catherine of Siena with the Virgin and Child". Pair

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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
  Spanish school from the second half of the 18th century. "Saint Joseph with the Child" and "Saint Catherine of Siena with the Virgin and Child". Pair of oil paintings on canvas. With carved and gilded wooden frames from the 19th century. Measurements: 82 x 62 cm; 136 x 90 cm (frame). Pair of oil paintings on canvas showing St. Catherine of Siena with the Virgin and Child, and St. Joseph with Child, both in the same oval format and pictorial execution. On the right we see the devotional image in which Saint Catherine of Siena is presented with the habit of the Dominicans. The saint appears in prayer, leaning towards the other two figures that accompany her, in this case the Virgin and Child. On the other hand, in the image on the left, it is a devotional work in which St. Joseph is presented with the Child in his arms, both figures joining their faces in reflection of the love that unites them, an image that evokes the representations of Mary and the Child. Born in Siena around 1347, she took a vow of virginity at the age of seven. As her mother wanted to marry her off, she shaved her head. Received into the Third Order of St. Dominic at the age of sixteen, she led an ascetic life in the convent that ruined her fragile health. She had a particular devotion to St. Agnes of Montepulciano. According to legend, when Catherine visited the tomb of St. Agnes, and was bending over the body of the saint to kiss her foot, the saint raised it to the height of her lips. She was glorified for having contributed to bring Pope Gregory XI to Rome from Avignon. On the occasion of the Western Schism, she took the side of Urban VI. She died in Rome in 1380 and was canonized in 1461. Until the Counter-Reformation, it was common for the figure of St. Joseph to remain in the background, since no theological importance was attached to him. However, after Trent, his protagonist role as Jesus' protector during his childhood, as a guide during his youth, was recovered, and as such he is represented here. In contrast to the tenderness, defenselessness and candor of the infant figure, St. Joseph is presented as a monumental character, typically baroque, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually enhances the decisive role as protector of the putative father of Jesus.
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