Special Display in the Museo del Prado: ‘Immaculate Conceptions’ Печат
Автор: artnovini.com   
Сряда, 05 Октомври 2016г. 18:52ч.

Exhibition view from room 10 A - ‘Immaculate Conceptions’ (Plácido Arango Arias Donation). Photo: © Museo Nacional del PradoTo coincide with the exhibition the Museum has published a book with individual texts on each of the 26 works that make up the Placido Arango Donation.

MADRID. The Museo Nacional del Prado (Ruiz de Alarcon, 23 28014 Madrid) is continuing with its commitment to introduce visitors to the generous donation made last year by Placido Arango, former president of the Museo del Prado’s Royal Board of Trustees, now with a selection of works that brings together different depictions of a single subject, the Immaculate Conception, one of the most widespread themes among Spanish Golden Age artists, announced museodelprado.es.

Mateo Cerezo (1637-1666), ‘The Immaculate Conception’ (ca. 1660). Oil on canvas, 211.5 x 147.5 cm. Photo: © Donacion Placido Arango Arias, 2015This special presentation, on display from 4 October until 19 February in Room 10A of the Villanueva Building, includes the four Immaculate Conceptions donated by Placido Arango in 2015 - two by Francisco de Zurbarán (1598-1664), one by Mateo Cerezo (1637-1666) and one by Juan de Valdes Leal (1622-1690); another version of this subject by Zurbaran that entered the Museum in 1956, which will be shown alongside its X-radiograph; and a new addition to the initial donation, an Immaculate Conception by Herrera the Younger which represents a significant contribution to the Prado’s holdings of works by this artist, who is only known from a relatively small oeuvre.

Painted between 1630 and 1680, this specially selected group of works allows for an understanding of how the subject of the Immaculate Conception varied between two types: one that emphasised intimacy, reflection and concentration, and another that made use of Baroque formulas expressed in dynamic, colourful compositions. This display will juxtapose the earliest Immaculate Conception in the donation and the one already in the Prado’s collection, both by Zurbaran. A comparison between the two reveals the different iconographical and compositional options considered by the artist at the start of his career: in comparison to the formal concentration and emotional introspection of the version housed in the Prado since 1956, the work from the Arango Donation is a dynamic work notable for the Virgin’s billowing tunic.

Francisco de Zurbaran (1598-1664), ‘The Immaculate Conception’ (ca.1630). Oil on canvas, 128 x 89 cm. Photo: © Museo Nacional del Prado, Madrid. Acquired in 1956.The second Immaculate Conception by Zurbaran in the donation, dated 1656, forms a connecting link with the rich tradition of depictions of this subject in Seville in the second half of the 17th century and can be compared with the Immaculate Conception by one of the leading representatives of that school, Juan de Valdes Leal. In the latter work, dated 1682, the painter avoids his characteristic compositional dynamism and communicative power in order to offer a delicate, introspective work in which the young Mary is located in an elaborate theological setting.

Another important focus of production for images on this subject was Madrid, represented here by the donation of an Immaculate Conception by Mateo Cerezo executed around 1660. Its dynamic style and wide chromatic range are traits that contributed to the evolution towards a fully Baroque style in Madrid painting. The exhibition also includes a new addition made by Placido Arango to his initial donation. This is an Immaculate Conception by Francisco de Herrera the Younger, one of the key names in painting in Seville and Madrid in the mid-17th century although now only known through a relatively small oeuvre. This painting, which will be retained by its owner for his lifetime enjoyment, represents a significant contribution to the Museum’s holdings.

To coincide with this presentation, the Prado has published a book that offers individual entries on the 26 works in the donation in addition to a text that assess its importance as a whole within the context of the Museum’s collections.

L: Juan de Valdes Leal (1622-1690), ‘The Immaculate Conception’ (1682). Oil on canvas, 206 x 144 cm. Photo: © Donacion Placido Arango Arias, 2015; R: Francisco de Herrera the Younger (1627-1685), The Immaculate Conception (ca. 1670). Oil on canvas, 165 x 105 cm. Photo: © Donacion Placido Arango Arias, 2016The Immaculate Conception by Francisco Herrera the Younger. A new addition
to the Placido Arango Donation

The addition of this Immaculate Conception by Francisco Herrera the Younger, the artist of one of the Prado’s great masterpieces (The Dream of Saint Joseph), represents an important contribution to the Museum’s collection, given that no other work by Herrera is known on this subject despite it being one of the most widely depicted by Spanish artists of his generation.

In his work Herrera offers an alternative to the iconographic models most commonly used for the subject in Spain in the second half of the 17th century, making use of a formal and emotional restraint unusual at the time but which is also present in some contemporary versions such as the canvas by Valdes Leal also included in this donation.

Particularly notable is the chromatic precision based on the combination of the ivory tones of the Virgin’s tunic and the dark blue of her mantle, as well as the interest in detail and the carefully devised composition.

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Conference

Miércoles, 19 octubre, 18:30h

Las Inmaculadas de la colección Arango:
la plenitud del Barroco español

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Последна промяна от Сряда, 05 Октомври 2016г. 19:27ч.