OIL ON COPPER. \'THE VIRGIN\'S ASCENSION\'. CIRCLE FRANS VAN DE KASTEELE

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). “Virgin with angels and saints.” Oil on copper. Curly frame in ebony. Painting of a devotional nature, judging by its small format, its theme and also by the fact that it is an oil painting on copper. Therefore, it was surely conceived for a private altar or chapel. It presents a great break of central Glory, delimited by cumulus clouds between which the heads of cherubs appear, with the figure of the Virgin Mary in the center, carried by child angels. She wears a deep pink tunic, with a violet tunic underneath, of which we only see the sleeves, a blue cloak (symbol of truth and eternity) and a white veil over her head, alluding to the concept of purity. Mary appears in a rotating, dynamic and typically baroque position, and shows one hand extended towards the ground plane, another on her chest and her head slightly turned, with her eyes directed towards the sky. At his feet, four figures in a landscape environment closed on both sides and open in depth in the center (in the distance we see a city, shrouded in mist and bluish from the distance), a balanced, symmetrical and orderly composition typical of the baroque classicist This is the representation of Saint James the Greater, Saint John, Saint Francis and Saint Maurice, from left to right. All of them are represented in large sizes, with special attention to their anatomies and clothing, worked in typically baroque chiaroscuro folds. Santiago wears a cloak adorned with a scallop on his shoulder, and carries a pilgrim's staff and hat. Saint John wears the sheepskin typical of his iconography, a red cloak alluding to his passion, and carries the cruciferous labarum and his Gospel in his hand. At his feet, the lamb that usually accompanies him in plastic representations, a symbol of Christ and his sacrifice. On the right side we see Saint Francis in a brown habit, knotted with the rope typical of the Franciscans, raising his gaze towards Mary and crossing his hands on his chest, showing his stigmata and carrying a wooden crucifix. Finally, at his side we see Saint Maurice, with a breastplate and cloak, carrying the palm of martyrdom. The blue and pink tones of his outfit are in line with the colors of the Virgin's clothes, as is Santiago's violet cloak, a resource through which the painter balances the composition, unifying both planes, and establishes a pyramidal structure. typically classic, balanced and symmetrical. Due to its formal characteristics we can relate this work to the influence of Frans Van de Kasteele, called Francesco da Castello, a Flemish painter installed in Rome during the pontificate of Gregory XIII (1572-85). Already in 1577 he is documented as a member of the Academy of San Lucas, and in 1588 he was appointed consul. To this day we know nothing about his training in the Netherlands or his early works. In a private Viennese collection there is a miniature on parchment signed by the artist and dated 1584, an adoration of the magi. Likewise, a contract from 1588 is known in which six paintings on canvas and five miniatures on copper with religious themes were commissioned. Although settled in Rome, Kasteele always maintained relations with the Netherlands, especially with the humanists Philips van Winghe, Abraham Ortelius and Henricus Corvinus. In Rome he was respected and recognized, a member of the Pantheon of the Academy of the Virtuosi in addition to that of Saint Luke. Although he also worked with easel painting, he was mainly the author of small-format works, illuminations and miniatures. Many of his works were sent to Spain, so he had numerous followers in our country.

· Size: 33x3x40 cms. int. 24x32 cms