Antiques - Paintings
Reference: Z6310

Flamenco school of the seventeenth century.
"The creation of Adam and Eve."
Oil on copper.

In this work, in the traditional way of the Flemish school, the double scene of the creation of Adam and Eve by God the Father is represented, in two successive levels that share the stage. This one portrays us the Paradise before the fall, with the animals coexisting in harmony, captured with narrative and naturalistic zeal. In the foreground, on the right side of a composition defined by a soft baroque diagonal, we see the creation of Adam, with it coming to life by the power of God the Father, who leans towards him, represented as a mature man with hair and beard white, dressed in white tunic and red cloak. Further on, in the background, we find Eve being born from the rib of Adam asleep, supported by the same figure of God the Father. On the other hand, the landscape receives a great prominence, revealing a careful work that goes beyond the simple setting of the religious theme, although this still has a clear protagonism, something that will be lost as the landscape becomes more important as independent gender, until the issue becomes a mere excuse for the representation of the natural.
Like other genres that gain great popularity during the seventeenth century in Flanders, the landscape has its roots in the pictorial tradition of the Netherlands of the fifteenth century. The background landscape of the religious works of Van Eyck, Bouts or van der Goes occupy in them a much more important place as an artistic element than that occupied by the landscape in Italian painting of the same period. Regarding the representation of the narrative, the landscape of the primitive flamencos plays an essential role, not only as the natural environment of the characters but to separate and set the different episodes of the story narrated in the work. As for the imitation of nature, Flemish painters of the fifteenth century endeavor to represent in a realistic way in the landscapes of their religious paintings the fields and cities of their native country, to detail their flora with botanical precision and even to give an idea of \u200b\u200bthe time of the day and the season of the year in which the scene takes place. This special interest in the representation of the landscape increases as the sixteenth century advances, when a new type of landscape is developed and popularized for sacred scenes: the panoramic view. In them the artist adopts a very high and distant point of view, at the height of a bird's eye, which allows him to represent a more extensive landscape than would be possible from a lower point of view. El Bosco already uses this point of view of the landscape at the end of the 15th century, although he puts it mainly at the service of the religious-moral content of the work, which is what concerns this artist."

· Size: 77 x 99 cm; 85,5 x 108 cm (marco).

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