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Adoration of the Shepherds
Artist: Fray Juan Bautista Maíno (1581 - 1649)
Artwork: Adoration of the Shepherds
About: 1612 - 1614
Medium: Oil Canvas
Dimensions: 314.4 x 174.4 x 7 cm
Altarpiece of the Four Easter. Church of San Pedro Mártir, Toledo
Current location: Prado Museum, Madrid, Spain
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On February 14, 1612, Juan Bautista Maíno signed the contract in Toledo to make the paintings that would make up the main altarpiece of the Conventual Church of San Pedro Mártir, in the same city. Maíno promised to make the altarpiece within eight months, painting the stories or subjects required by the prior of the convent. Despite the commitment established in the contract, the paintings were not completed until December 1614. Between those two dates the artist entered the Order and the convent itself, after making his profession on July 27, 1613.
The main themes were the most important representations of the life of Jesus, from his birth to his glorious resurrection, and for this they were conformed in basic images of the Catholic world, the major holidays of the ecclesiastical year, known as the Four Passovers. The rest of the works that made up the ensemble, made in a smaller format, were also quite popular, but were above all examples of the stillness and worldly detachment to which monastic life aspired.
Faithfully following the Gospel of Saint Luke (2, 7-14), the composition illustrates the moment when a group of shepherds and angels contemplate and venerate the Child Jesus . The scene takes place in a ruined building, at a time of dusk in the light of twilight that can be seen in the background. The figures are arranged in three well differentiated spatial levels, although the X-ray has shown that this triple composition was not the one initially devised by the painter. Maíno abandoned the initial composition and gave prominence to the longitudinal vision of the work, bringing it closer to works by Tintoretto and El Greco that were in areas close to Toledo.but revised by the novelties learned in Rome , highlighting those of Caravaggist roots, with an appreciation of the clear and enameled color that also links with Orazio Gentileschi.
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#peritemuseum #webgalleryoffineart #artloveenjoylife #1001andmore #webgalleryofvisualart
Adoration of the Shepherds
Artist: Fray Juan Bautista Maíno (1581 - 1649)
Artwork: Adoration of the Shepherds
About: 1612 - 1614
Medium: Oil Canvas
Dimensions: 314.4 x 174.4 x 7 cm
Altarpiece of the Four Easter. Church of San Pedro Mártir, Toledo
Current location: Prado Museum, Madrid, Spain
—————————-
On February 14, 1612, Juan Bautista Maíno signed the contract in Toledo to make the paintings that would make up the main altarpiece of the Conventual Church of San Pedro Mártir, in the same city. Maíno promised to make the altarpiece within eight months, painting the stories or subjects required by the prior of the convent. Despite the commitment established in the contract, the paintings were not completed until December 1614. Between those two dates the artist entered the Order and the convent itself, after making his profession on July 27, 1613.
The main themes were the most important representations of the life of Jesus, from his birth to his glorious resurrection, and for this they were conformed in basic images of the Catholic world, the major holidays of the ecclesiastical year, known as the Four Passovers. The rest of the works that made up the ensemble, made in a smaller format, were also quite popular, but were above all examples of the stillness and worldly detachment to which monastic life aspired.
Faithfully following the Gospel of Saint Luke (2, 7-14), the composition illustrates the moment when a group of shepherds and angels contemplate and venerate the Child Jesus . The scene takes place in a ruined building, at a time of dusk in the light of twilight that can be seen in the background. The figures are arranged in three well differentiated spatial levels, although the X-ray has shown that this triple composition was not the one initially devised by the painter. Maíno abandoned the initial composition and gave prominence to the longitudinal vision of the work, bringing it closer to works by Tintoretto and El Greco that were in areas close to Toledo.but revised by the novelties learned in Rome , highlighting those of Caravaggist roots, with an appreciation of the clear and enameled color that also links with Orazio Gentileschi.
———————-
#peritemuseum #webgalleryoffineart #artloveenjoylife #1001andmore #webgalleryofvisualart