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Spanish school of the 19th century. Follower of MATEO CEREZO (Burgos, 1637 - Madrid, 1666)."
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Beschreibung
Spanish school of the 19th century. Follower of MATEO CEREZO (Burgos, 1637 - Madrid, 1666).
"Magdalena",
Oil on canvas.
With 19th century Dutch style frame.
Size: 108 x 84,5 cm; 141 x 117 cm (frame).
Devotional painting that shows us Mary Magdalene during her penitence, covered with rags and meditating before a crucifix and the Holy Scriptures, in a mystic attitude, typically baroque. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Stylistically it is close to the work of Mateo Cerezo, who was born in Burgos to his father Mateo Cerezo el Viejo. In 1654 he moved to Madrid and studied with Juan Carreño de Miranda and possibly with Antonio de Pereda, died young at the age of forty, and much of his work is in the Museo del Prado in Madrid, as well as in the Museo de Burgos. His style is close to tenebrism, and is reminiscent of his master Carreño, Francisco de Herrera, Titian, Juan van der Hamen and Anthony van Dyck. His palette of colours is warm and varied and his compositions have a particular elegance.
"Magdalena",
Oil on canvas.
With 19th century Dutch style frame.
Size: 108 x 84,5 cm; 141 x 117 cm (frame).
Devotional painting that shows us Mary Magdalene during her penitence, covered with rags and meditating before a crucifix and the Holy Scriptures, in a mystic attitude, typically baroque. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Stylistically it is close to the work of Mateo Cerezo, who was born in Burgos to his father Mateo Cerezo el Viejo. In 1654 he moved to Madrid and studied with Juan Carreño de Miranda and possibly with Antonio de Pereda, died young at the age of forty, and much of his work is in the Museo del Prado in Madrid, as well as in the Museo de Burgos. His style is close to tenebrism, and is reminiscent of his master Carreño, Francisco de Herrera, Titian, Juan van der Hamen and Anthony van Dyck. His palette of colours is warm and varied and his compositions have a particular elegance.
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Spanish school of the 19th century. Follower of MATEO CEREZO (Burgos, 1637 - Madrid, 1666).
"Magdalena",
Oil on canvas.
With 19th century Dutch style frame.
Size: 108 x 84,5 cm; 141 x 117 cm (frame).
Devotional painting that shows us Mary Magdalene during her penitence, covered with rags and meditating before a crucifix and the Holy Scriptures, in a mystic attitude, typically baroque. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Stylistically it is close to the work of Mateo Cerezo, who was born in Burgos to his father Mateo Cerezo el Viejo. In 1654 he moved to Madrid and studied with Juan Carreño de Miranda and possibly with Antonio de Pereda, died young at the age of forty, and much of his work is in the Museo del Prado in Madrid, as well as in the Museo de Burgos. His style is close to tenebrism, and is reminiscent of his master Carreño, Francisco de Herrera, Titian, Juan van der Hamen and Anthony van Dyck. His palette of colours is warm and varied and his compositions have a particular elegance.
"Magdalena",
Oil on canvas.
With 19th century Dutch style frame.
Size: 108 x 84,5 cm; 141 x 117 cm (frame).
Devotional painting that shows us Mary Magdalene during her penitence, covered with rags and meditating before a crucifix and the Holy Scriptures, in a mystic attitude, typically baroque. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Stylistically it is close to the work of Mateo Cerezo, who was born in Burgos to his father Mateo Cerezo el Viejo. In 1654 he moved to Madrid and studied with Juan Carreño de Miranda and possibly with Antonio de Pereda, died young at the age of forty, and much of his work is in the Museo del Prado in Madrid, as well as in the Museo de Burgos. His style is close to tenebrism, and is reminiscent of his master Carreño, Francisco de Herrera, Titian, Juan van der Hamen and Anthony van Dyck. His palette of colours is warm and varied and his compositions have a particular elegance.
9th March - Old Masters
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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Wichtige Informationen
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PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
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