Workshop of MAESTRO DE LOS LUNA (active in Castile between 1480 and 1500). Castile, ca. 1500. "Magdalena". Oil on panel.

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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 MAESTRO DE LOS LUNA (active in Castile between 1480 and 1500). Castile, ca. 1500. "Magdalena". Oil on panel. Measurements: 72 x 47 cm; 76 x 50.5 cm (frame). The conceptual image of Maria Magdalena makes its appearance in the Middle Ages, when her representation ceases to be limited to scenes from the life of Christ and to certain passages in which she is confused with other biblical characters. In the Gospels she appears as one of the women followers of Christ but her presence stands out from the rest since she is the only one who is named without relation to a man - she is not the mother of Jesus, nor the sister of John, nor the wife of Cleophas - she is presented by her name and place of origin: Mary of Magdala. Mary Magdalene was used by the medieval Church as the penitent saint par excellence, the ultimate example of a repentant sinner who achieves salvation. She went from a prostitute intoxicated by lust and vanity to a saint who dedicated the last thirty years of her life to penance in order to finally be accepted into the heavenly kingdom. In this way, she served as an example to all the faithful in general and to prostitutes and mystics in particular. In the first half of the 16th century, the meaning of the penitent broadens and represents Truth, Love, Beauty and the ideal of feminine beauty. As in the case of many anonymous artists of Spanish Gothic painting, the personality of the so-called Master of Don Alvaro de Luna continues to raise many questions. His appellation is due to the historian Chandler R. Post, who named him this way in 1933 when he studied the panels of the altarpiece of the chapel of Santiago or of the Luna family in the cathedral of Toledo. Years before, Diego Angulo had related the panels of the Toledo altarpiece with two works conserved in the Prado Museum, which he dated around 1490. The altarpiece of the Toledo cathedral was contracted in Guadalajara in 1488 between the Duchess of Infantado, María de Luna, and the artists Sancho de Zamora -traditionally identified with the Master of San Ildefonso-, Juan Rodríguez de Segovia and Pedro Gumiel. Accordingly, Gudiol (1955) identified the Master of the Luna family with Juan Rodríguez de Segovia, taking into account that the latter had worked on the decorations of the Infantado Palace between 1483 and 1485. The panels of the predella, in which the Constable Álvaro de Luna and his wife, Juana Pimentel, appear, and the central panel of the altarpiece, which represents the Virgin and Child surrounded by angels, should be attributed to him. At present, some specialists distinguish two different hands in the works attributed to the painter, although of similar formation and characteristics. That is why they prefer to speak of the "Taller del Maestro de los Luna" when studying the group of panels that have survived to the present day.
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