Spanish school of the seventeenth century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "The burial of the Virgin

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OLD MASTERS & SCULPTURE - Day 2

By Setdart Auction House

Jun 1, 2021

Set Reminder 2021-06-01 09:45:00 2021-06-01 09:45:00 America/New_York Bidsquare Bidsquare : OLD MASTERS & SCULPTURE - Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-sculpture---day-2-6999
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• Lot Description
  Spanish school of the seventeenth century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "The burial of the Virgin." Oil on canvas. Reengineered. It has flaws. Measurements: 126 x 110 cm. The present canvas depicts the Transitus or Dormition of Mary, the moment when her soul is received by Christ, awaiting the Ascension to heaven in body and soul a few days later. The scene is set in a dark and indeterminate scenario, determined by breaks of glory in its upper part. The mother of Jesus appears accompanied at this moment, as narrated in various apocryphal gospels, by the entire apostolic college, and St. John the Evangelist, with youthful features, and St. Peter, with his characteristic short beard, can be clearly identified as officiating at the ceremony. Because of its physical and formal characteristics, the present work can be related to the circle of Francisco de Zurbarán. Zurbarán trained in Seville, where he was a disciple of Pedro Díaz de Villanueva between 1614 and 1617. During this period he would have the opportunity to meet Pachecho and Herrera, and to establish contacts with his contemporaries Velázquez and Cano, apprentices like him in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, a city where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, by unusual proposal of the Municipal Council, Zurbarán settled definitively in Seville, beginning the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at the suggestion of Velázquez, to participate in the decoration of the great hall of the Buen Retiro. Back in Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably moved by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his production, he painted canvases of private devotion of small format and refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing in anatomies, faces and objects. His severe compositions, rigorously ordered, reach an exceptional level of pious emotion. With respect to tenebrism, the painter practiced it especially in his first Sevillian period. No one surpasses him in the way of expressing the tenderness and candor of children, young virgins and adolescent saints. His exceptional technique also allowed him to represent the tactile values of canvases and objects, which makes him an exceptional still life painter. His sobriety, the expressive force and plasticity of his figures, added to his evident gifts as a colorist, place him at the top of the Spanish masters of the Golden Age.
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