VICENTE CARDUCHO (Florence, 1576 or 1978 - Madrid, 1638), attributed. "Saint Paul". Oil on canvas.

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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
  VICENTE CARDUCHO (Florence, 1576 or 1978 - Madrid, 1638), attributed. "Saint Paul". Oil on canvas. Measurements: 134 x 76 cm; 144 x 86 cm (frame). St. Paul acquires a monumental canon in this painting. Depicted full-length, barefoot, with classical tunic and cloak, his head is adorned with a nimbus. He holds the back of the martyrdom with his left hand, and under the right hand the Scriptures. The figure is set in a landscape with a low horizon, worked with faded colors according to the Flemish tradition, with plains and mountains bluish due to the effect of the distance. The low situation of the horizons, which determines a narrow ground plane and a wide space for the sky, and which is also in accordance with the low point of view that monumentalizes the figures, has a certain scenographic sense, clearly baroque, which allows the sky to rise as a backdrop, focusing the attention on the character. All of them are formal and stylistic solutions that present notable concomitances with the work of the painter Vicente Carducho, with his chromatic and luminous concern, and his personal assimilation of the Flemish, Italian and Velazquez style. Vicente Carducho was a painter and treatise writer of Italian origin, although his artistic activity was developed in Spain, specifically in the Madrid school. His training as a painter of frescoes and altarpieces stands out, reflecting his language halfway between classicism and post-Renaissance mannerism. His first great work, the Preaching of St. John the Baptist for the Monastery of San Francisco in Madrid, was understood as a very daring piece for the time, a fact that denotes the importance of Carducho within the complex path within the history of art. Following the death of his brother Bartolomé Carduchó, painter of the court of Philip II in Spain, Vicente was in charge of the decoration of one of the galleries of the Royal Palace of El Pardo, making the works referring to the exploits of Achilles. Later he began his career as court painter of Philip III, collaborating in important works such as the High Altar of the Monastery of Guadalupe (Cáceres) and the altarpiece of the Monastery of the Incarnation (Madrid). Until the arrival of Velázquez, he was the most influential representative of the Madrid school in painting, thus exposing his artistic conceptions and being master of artists such as Francisco Fernández, Pedro de Obregón, Francisco Collantes, Bartolomé Román and Félix Castello. The Madrid Baroque school arose around the court of Philip IV first and Charles II later, and developed throughout the seventeenth century, continuing well into the eighteenth century. Analysts of this school have insisted on considering its development as a result of the agglutinating power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele located next to the royalty. This allows and favors a stylistic unity even though the logical divergences due to the personality of the members can be appreciated. This meant an awakening of the nationalist conscience by allowing a liberation from the previous Italianizing molds to jump from the last echoes of Mannerism to Tenebrism. This will be the first step of the school, which in gradual sense, is walking successively until the attainment of a more autochthonous baroque language and linked to the political, religious and cultural conceptions of the monarchy of the Austrias, to go to die with the first shoots of the rococo that are manifested in the production of the last of its representatives, A. Palomino. Stylistically, it starts from a naturalism with a remarkable capacity for synthesis to opportunely lead to the allegorical and formal complexity characteristic of the decorative baroque.
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