CUADRO X

 

RUBENS, Adoration of the Magi (1628)

Rubens painted this canvas in 1609 but then, between 1628 and 1629, he finished it during his second trip to Spain. Now it is in The Prado museum in Madrid. It is a baroque painting.

The Adoration of the Magi is the name traditionally given to the theme of the Nativity of Jesus in art in which the three magi, represented as kings, found Jesus by following a star, laying before him gifts of gold, frankincense and myrrh and worshipping him. It is related in the Bible by Matthew 2:11.

It is one of the biggest painting in the Prado museum (355,5 cm × 493 cm). It is very colourfull at the right Rubens draw himself riding a horse with a sword and a golden chain.

In the church calendar this event is commemorated as the Feast of the Epiphany (6 of January).

CUADRO IX

TITIAN, The entombment of Christ (1559)

	CARACTERISTICS
	The Entombment of Christ
ARTIST	Titian
YEAR	1559
TYPE	Oil on canvas
DIMENSIONS	137cm X 175 cm
LOCATION	Museo del Prado (Madrid)

CARACTERISTICS

The Entombment of Christ

ARTIST

Titian

YEAR

1559

TYPE

Oil on canvas

DIMENSIONS

137cm X 175 cm

LOCATION

Museo del Prado (Madrid)

The Entombment is a painting painted by Titian in 1559, commissioned by Philip II of Spain. In this painting, Titian uses the mature style characterized by the use of broad brushwork and brilliant colours. The figure holding Christ body is Nicodemus, the Jewish elder that secretly visited Jesus at night to learn about his teachings. The figure of Nicodemus bears the traits of the artist himself. This could have been inspired by Michelangelo's idea in his unfinished Pietà from 1550, depicting himself as Nicodemus, supporting the body of Christ displayed in the Cathedral in Florence. The stone sarcophagus where Christ body is placed is decorated with depictions of Cain and Abel and the Sacrifice of Isaac - themes that according to the Christian faith predicted the sacrifice of Jesus.

CUADRO VII

MURILLO, The marriage feast at Cana (1672)

Jesus with his mother and his disciples attended to a wedding in Cana. When the wine was finished, Jesus performed his first miracle, turning water into wine.

Murillo used this theme for one of his works with the largest number of characters. The centerpiece of the painting is a big table in which the guests are sitting down, more than twenty people. In the center there is the couple, illuminated by powerful white light directed towards the pitchers foreground, protagonists of the scene. On the left Christ appears at the time of the miracle, accompanied by Mary. The servants are preparing to add water into the vessels while the headwaiter is looking to the guests.

Murillo employs some characters dressed in oriental robes, turbans and a beautiful fabric on the table (in the left).The lighting used by the painter gets a great atmospheric effect, blurring the background characters. Murillo collects all kinds of details, especially in the foreground, creating a personal style of great beauty. The use of color and gestures and expressions is also very important.

CUADRO VI

GOYA, Apparition of the Virgin of the Pillar to Saint James and his Saragossan disciples (1768)

The aparition of the Virgin of Pilar to Santiago and his disciples of Zaragoza, is a painting of the young Francisco de Goya, painted between 1768 and 1769. The painting represents the apparition of the Virgen del Pilar the Apostle James the Great and some of his Caesaragusta disciples.

The fervent feeling was common to the whole society of Zaragoza.

Should be noted that the Catholic tradition says that in the year 40, the Virgin Mary appeared to Santiago in Zaragoza, to encourage the apostle in the evangelization of Hispania. He came to the Easter collection of Quinto Zaragoza through inheritances and inter-family bonds.

It is the couple called Triple generation and has very common stylistic features, to Adoration of the Name of God, and the Baptism of Christ and the portrait of Juan-Martin Goycoechea.

Up, sitting with a pink robe is present the Virgen del Pilar,and below, in the lower right corner is the apostle Santiago in a red robe. In the upper right corner and on both sides of the picture are some angels, the angels of the right have a small sculpture of the Virgin Mary, and the angels of the left hold in their hands a column. Near the Santiago apostle, they are some of his disciples walking.

CUADRO IV



MURILLO, The Immaculate Conception of Los Venerables (1678)

Murillo painted many Immaculate Conceptions, and in the last years of his life, he created an ideal formula in which the Virgin wears white and blue, with her hands crossed on her bosom and a clear ascending impulse that is very Baroque. Mary is situated in a heavenly space inhabited by light, clouds and angels that serves to join two iconographic traditions: that of the Immaculate Conception itself, and that of the Ascension. The loose, energetic brushstrokes, spiral composition and use of light, as well as the sense of movement that emanates from this work, make it an extraordinary example of Baroque art.

This work was commissioned by Justino de Neve (1625-1685) for the Hospital of the Venerable Priests of Seville. During the War for Independence, in 1813, it was taken to France by Marshall Soult. In 1941, it returned to the Prado Museum after almost a century on display at the Louvre in Paris.

The painter represents the Virgin As a young brunette, beautiful, tender and sweet, fluffly clouds floating gently on, in a great burst of glory. Is dressed in white robe and blue cloak, with hands folded on the chest in prayer and head cocked gently shot  went wide.