Workshop of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682), XVII century. "Salvator Mundi". Oil on copper.

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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
  Workshop of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682), XVII century. "Salvator Mundi". Oil on copper. Size: 15 x 10 cm; 17 x 12,7 cm (frame). This oil painting, framed within the Murillo school (probably a work of Murillo's workshop), shows Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal savior, in relation to his role as judge in the Final Judgment and his character of Redeemer. It is characterized by presenting Christ raising his right hand as a sign of blessing, while he supports with his left hand an orb symbolizing the universe, emphasizing the universal character of Christian doctrine and of Christ's redemptive act. The model chosen by the painter here is an adolescent Christ, very close to the Murillo children, faithful to the way in which the Sevillian master resolved the soft flesh tones, the soft features and the velvety tones, moving away from the hieratic models associated with the iconography of the Salvator Mundi. Baroque naturalism can be appreciated in the draperies combined with idealism in the way of resolving the candid countenance. Due to its formal characteristics we can relate this work to the school of Murillo, an author whose influence was key to the development of the full baroque not only in the Sevillian school, but also in other areas. Considered by some as the painter who best defines the Spanish Baroque, this master exerted a remarkable influence among his Sevillian contemporaries and, after his death, his wake can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during Romanticism numerous copies of his works were made. However, it will be in the Baroque of the eighteenth century when the importance of his influence is most appreciated, spread by his numerous disciples and followers. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work of the late seventeenth century. In the last decades of the 17th century, the emotional, sweet and delicate sentimentality of Murillo prevailed in Seville over the more dramatic one of Valdés Leal, and hence the predominance of his influence in the following century. However, as time progresses, we will find ourselves before an increasingly superficial influence, which focuses on the imitation of models and compositions but leaving aside its plastic language, in favor of formulas more typical of the new century.
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