Antiques -
Reference: ZF0230

"Crucifixion". Gothic table Aragonese school, towards the end of the 15th century.
At the bottom of this table, standing out on gold leaf, there is a walled city, with attempts at some points to capture the space correctly with attempts of perspective, located in a flat area with trees. From the door of the wall a serpentine path emerges that, crossing cultivated fields, joins the bottom with the first term, enhanced on an area of \u200b\u200brocks. It is in this space that the figures are placed, distributed in two very separate areas: to the left of Jesus (Mary in the foreground, with two other women and Saint John, Mary Magdalene at the foot of the cross with a white cloth) and to the right of the cross (soldier and male figure richly dressed). Christ appears already deceased, with his head bowed touched by a nimbus and a prominent crown of thorns in green, and abundant blood emerging from the three nails with which appears subject as the wound on the side (which falls across the cross to make a puddle, despite the cloth of Mary Magdalene in which some spots appear).
The flamenco style began to be introduced in Spain from the mid-fifteenth century, without supposing a total rupture with the forms and aesthetics of international Gothic, thanks to the arrival of Flamenco artists and works from that area. The Spanish-Flemish style reaches its maximum diffusion in the last third of the 15th century, linking with Renaissance forms around 1500. The Aragonese painting of this period shows very intimate relations with the Valencian and Catalan schools.
Thus, it is possible to see similarities between this painting and works by figures such as Joan Reixach (1431-1482 / 1495, compare the table above the Santa Úrsula Altarpiece and the eleven thousand Virgins - National Museum of Art of Catalonia, catalog 01 -5927-CJT-: the figures located to the right of Christ have been located in a similar way, the first term has been separated from the bottom with a rocky ledge, the road, etc.). The detail of María Magdalena with a white elongated cloth is also presented in the Altarpiece of Jacomart (Jaime Baçó Escrivà (Valencia, 1411-1461), also known as Jacomart, was a Valencian painter of the XV century of Hispano-Flemish style) of Catí del Museo of Fine Arts of Valencia, painted between 1460 and 1461, as well as the walled city in the background with the path and the stone ledge to separate the first plane. However, it is necessary to highlight the differences between the works mentioned and the present: figures in the right area of \u200b\u200bthe table, simpler features, a certain anatomical disproportion in the figures, the presence of the skull at the foot of the cross, details in Christ and in his purity cloth, etc. All these details link the painting with one hand, surely anonymous, somewhat removed from the main creative centers and key names of the Aragonese school such as Bartolomé Bermejo, Martín Bermat, Tomás Giner, Bernardo de Aras, etc."

· Size: 127x176 cms.

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