Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). “Virgin with angels and saints.” Oil on copper. Ebony curled frame. This painting is devotional in nature, judging by its small size, its subject matter, and the fact that it is an oil painting on copper. Therefore, it was likely intended for an altar or private chapel. It features a large central burst of glory, framed by clusters of clouds from which cherub heads emerge, with the figure of the Virgin Mary at the center, carried by child angels. She wears a tunic of intense pink, with a violet undergarment (of which only the sleeves are visible), a blue mantle (a symbol of truth and eternity), and a white veil over her head, alluding to the concept of purity. Mary appears in a dynamic, typically Baroque, rotating pose, with one hand extended towards the ground, the other on her chest, and her head slightly turned, her eyes directed towards heaven. At his feet, four figures are set against a landscape enclosed on both sides and open in the center, revealing a city in the distance, shrouded in mist and tinged with blue by the distance. The composition is balanced, symmetrical, and ordered, typical of the Classical Baroque. From left to right, they represent Saint James the Greater, Saint John, Saint Francis, and Saint Maurice. All are depicted on a large scale, with particular attention paid to their anatomy and drapery, rendered in chiaroscuro folds characteristic of the Baroque style. Saint James wears a cloak adorned with a scallop shell 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 cruciform banner and his Gospel in his hand. At his feet is the lamb that often accompanies him in artistic representations, a symbol of Christ and his sacrifice. On the right, we see Saint Francis in a brown habit, tied with the Franciscan cord, raising his gaze toward Mary and crossing his hands over his chest, displaying his stigmata and carrying a wooden crucifix. Finally, beside him, we see Saint Maurice, wearing a breastplate and cloak, carrying the palm of martyrdom. The blue and pink tones of his attire are in harmony with the colors of the Virgin's garments, as is Saint James's violet cloak—a device by which the painter balances the composition, unifying both planes and establishing a typically classical, balanced, and symmetrical pyramidal structure. Based on its formal characteristics, we can relate this work to the influence of Frans Van de Kasteele, known as Francesco da Castello, a Flemish painter who settled in Rome during the pontificate of Gregory XIII (1572-85). He is documented as a member of the Academy of Saint Luke as early as 1577, and in 1588 he was appointed consul. To this day, nothing is known of his training in the Low Countries or of his early works. A miniature on parchment, signed by the artist and dated 1584, depicting the Adoration of the Magi, exists in a private Viennese collection. A contract from 1588 is also known, commissioning him to produce six paintings on canvas and five miniatures on copper with religious themes. Although based in Rome, Kasteele maintained close ties with the Low Countries, especially with the humanists Philips van Winghe, Abraham Ortelius, and Henricus Corvinus. In Rome, he was respected and recognized, a member of the Pantheon and the Academy of the Virtuosi, as well as the Academy of Saint Luke. Although he also worked in easel painting, he was primarily known for small-format works, illuminations, and miniatures. Many of his works were sent to Spain, and he had a large following there., detectedSourceLanguage: es
· Size: 33x3x40 cms. int. 24x32 cms
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