Spanish school of the seventeenth century. Circle of JUAN DEL CASTILLO (Seville, c. 1590 - 1657). "Virgin of the Milk". Oil on canvas. Relined. With 1

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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 JUAN DEL CASTILLO (Seville, c. 1590 - 1657). "Virgin of the Milk". Oil on canvas. Relined. With 17th frame. Measurements: 96 x 78 cm; 118.5 x 97 cm (frame). In this canvas the painter offers us an image of the Virgin and Child, within the iconography of the Virgin of the Milk, an image that is both everyday and endowed with a long tradition in the history of art. Although in the Baroque period this theme began to disappear, it fits fully with the interest of the artists of the time to depict Jesus in his human facet, especially as a tender and innocent child on whom weighs the shadow of the cross, of his future sacrifice, often represented by veiled allusions, as here the red flowers and the Virgin's tunic, of the same color. Formally, this work is part of the Spanish school of the second half of the 17th century, more specifically in the circle of Juan del Castillo, mainly known for having been Murillo's teacher. Thus, we see in this work the tenderness, delicacy and subtlety that were the hallmarks of del Castillo, especially evident in the delicate fabrics, wisely captured, and in the pearly flesh tones, worked with a modeling that is based on the subtlety of the play of light and shadow. Juan del Castillo worked in Seville during the first half of the 17th century. We do not have much information about his life, and the existing documents correspond to quite advanced dates. In 1615 he married the daughter of the painter Antón Pérez, who may have been his teacher, and in 1624 he took his exams to become a painter, although it is likely that he was already working as such before that date. In fact, an "Allegory of the Institution of the Eucharist" dated 1612 and preserved at the University of Seville is attributed to him. It is also probable that he participated in the main altarpiece of the parish of Brenes, contracted in 1621 by his father-in-law. Alonso Cano worked in his workshop and, as we have mentioned, Bartolomé Esteban Murillo, with whom a family relationship is considered possible. In fact, he was godfather to one of his daughters in 1650. His most outstanding works are the canvases of the altarpiece of Montesión (today kept in the Museum of Seville), which would be dated around 1634-36, and an altarpiece of the same dates that is in the church of the Sacred Hearts of San Juan de Alnazfarache. In these works Juan del Castillo's relationship with early naturalism is evident, as well as his admiration for light and intense colors, showing a certain popular tone that contrasts with the hardness of some figures. He is currently represented in the Museum of Fine Arts of Seville, the church of the Convent of the Mother of God in the same city and other temples in Seville, as well as in various private collections.
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