Spanish school of the seventeenth century. Workshop of the GARCÍA BROTHERS: MIGUEL FRANCISCO GARCÍA AND JERÓNIMO FRANCISCO GARCÍA (Granada, 16th and 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. Workshop of the GARCÍA BROTHERS: MIGUEL FRANCISCO GARCÍA AND JERÓNIMO FRANCISCO GARCÍA (Granada, 16th and 17th centuries). "Painful Virgin." Polychrome terracotta. Measurements: 44 x 38 x 14 cm. In this devotional image the theme of the Dolorosa is approached, worked with a language attentive to detail, of great pathos. The Dolorosa is a Virgin of Calvary, witnessing the torture and death of her son. This devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. This iconography is characterized by representing Mary alone, with her gaze raised towards the figure of Christ on the cross, her eyes flooded with tears and an expression of deep pain on her face. Over time, the pain that breaks the heart of the Virgin will be represented with one or more swords stuck in her chest, although in the representation that concerns us here, the intention has been to flee from the pathos of the most dramatic baroque, opting instead for the softness of the features and gesture, which does not detract from the strength of the intention to share the Marian pain. The brothers Miguel and Jerónimo Francisco García, canons of the Colegiata del Salvador de Granada, were two sculptors active between the 16th and 17th centuries, who can be placed in the transition phase from naturalism to the first baroque. They worked in clay and wood, and are known for a set of Ecce Homos usually of small size, meticulous modeling and great expressiveness. Recently, a group of terracotta reliefs representing different saints in penitence has been added to their catalog of works: St. John the Baptist, St. Jerome, etc. They have been attributed the crucifix in the sacristy of the Cathedral of Granada, traditionally considered the work of Montañés. Both brothers were responsible for the creation of new iconographic models that helped to consolidate the incipient taste for naturalism in the Granada school. It is true that there were many who inspired him when carrying out his work, but we can say without fear of being wrong, that his works served as a reference to other great artists such as Alonso de Mena. Men of their time, and aware of the peculiarities of working with clay in the right way. They are the founders of the school of barrists of Granada, and it is from their production that clay, that ignoble material, begins to acquire new nuances. Relegated its use in previous times to the realization of domestic furnishings, they would be responsible for raising it to the highest spheres. Following in their footsteps, Alonso Cano, Diego and José de Mora, José Risueño, among many others, would establish this tradition, whose peak would be reached in the 19th century by the baristas of the time: Manuel González, Miguel Marín, Antonio Jiménez Rada and, of course, Francisco Morales González, among many others.
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