Antiques - Paintings
Reference: Z6173

Flemish Hispanic school of the 16th century.
"Crucifixion with the Virgin, Saint John and Mary Magdalene".
Oil on panel.

In this painting the subject of the crucifixion of Christ is approached from a narrative point of view, adding to the usual figures of the Deesis (Mary and John the Evangelist) the character of Mary Magdalene, who appears hugging the cross. In this way the symmetry of the composition is broken, although in a compensated way, within an anti-classical taste typical of Italian mannerism. The composition presents all the figures in the foreground on a landscape background that develops in depth, with a high horizon. The sky clarifies in its lower part, but it darkens, dramatic, in the upper part, serving as a backdrop for the figure of the dead Christ. The figures appear perfectly individualized in their attitudes. In this way, María appears in pain, with her hands crossed on her chest, suffering but not fainting. On the other hand, Juan presents a dynamic position, of more evident expressiveness, both by his face and by his hands, tense and stretched, one of them raised towards Christ. Mary Magdalene is perhaps the most naturalistic figure, furthest from the iconographic conventions, and appears mournful, embracing the cross and legs of Christ.
Within Spanish Gothic, the Flemish Hispanic school was characterized by the great influence of the Flemish primitives, which survived in Spain until well into the 16th century, due in large part to the political and cultural ties between the two countries. Flemish painting was, in the fifteenth century, the most advanced in Europe, and influenced all national schools, including Italian. It was considered an art of enormous refinement, with works made and treated as jewels. The features of the Flemish Hispanic school are close to those of Flemish painting, starting with the greatest concern of Flanders painters, the search for reality above all. In relation to this desire, great attention is paid to the qualities of the objects, as well as to the smallest details, also frequently endowed with a symbolic charge. The iconography remains mainly religious, and in the scenes a correct and precise drawing will prevail, very thorough. In the same way, they try to capture the most true lighting possible, whether artificial or natural, always modeling the carnaciones and producing chiaroscuros to a greater or lesser degree.
During the sixteenth century, this solidly flamenco substrate receives the influence of the Italian Renaissance, already fully formed and known throughout Europe. The technique is still the typical flamenco, oil on board, with short brushstroke and smooth and tight bill, but nevertheless the figures acquire a greater monumentality, a greater presence."

· Size: 23,5x28,5 cms.

Sold Item

For pricing applies for registration here.

If you are already registered, log into your account here.

Related Articles