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The Immaculate Conception
Coello, Claudio
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Coello, Claudio

Madrid (Spain), 1642 - Madrid (Spain), 1693

Coello, Claudio See author's file

The Immaculate Conception

Second half of the XVII century. Oil on canvas. On display elsewhere

This is a significant example of Claudio Coello’s style and one of his finest representations of the Immaculate Conception. It admirably associates grace and delicate modesty with the triumphal emphasis that characterizes depictions of this subject from Madrid in the second half of the century. Its rich, refined and predominately warm color scheme corresponds to Coello’s most powerful period, free of the earlier dependence on Rizi still visible in the large San Plácido Annunciation from 1668, and of the influence of Carreño that is also noticeable in his 1676 Immaculate Conception at the Musée de Castres. So this canvas is from the artist’s most advanced period, with colors, a model and technique close to other works from his finest and most fully mature period, such as the Magdalene from the Ciempozuelos altarpiece (1682) and the Saint Catherine (1683) at the Wellington Museum in London.

A reduced version of this composition, painted on a panel with some notable variants, isknown to be in a private English collection and is very likely a tabernacle door. A more modest example, with a false signature of Carreño, is at the Alte Pinakothek in Munich and was almost certainly executed at Coello’s workshop by one of his disciples or collaborators (Text from Pérez Sánchez, A. E.: Carreño, Rizi, Herrera y la pintura madrileña de su tiempo. 1650-1700, Ministerio de Cultura, 1986, p. 304).

Technical data

Inventory number
Coello, Claudio
The Immaculate Conception
Second half of the XVII century
Height: 208 cm; Width: 145 cm
Monastery of Santa María de la Santa Espina, Castromonte (Valladolid)?; Museo de la Trinidad

Bibliography +

La peinture espagnole du siècle d'or: de Greco a Velazquez, Association Française d'Action Artistique, París, 1976.

The Golden Age of Spanish Painting, Royal Academy of Arts, Londres, 1976, pp. 46.

Espinós, Adela; Orihuela, Mercedes y Royo Villanova, Mercedes, ''El Prado disperso''. Cuadros depositados en Madrid. I. Iglesia de San Francisco el Grande, Boletín del Museo del Prado, I, 1980, pp. 51.

Pérez Sánchez, Alfonso E., Panorama de la pintura española desde los Reyes Católicos a, Servicio de Publicaciones del Instituto de Coopera, Madrid, 1980, pp. 94.

Sullivan, Edward J., Baroque painting in Madrid: the contribution of Claudio Coello, University of Missouri Press, Columbia, 1986, pp. 158.

Pérez Sánchez, Alfonso E., Carreño, Rizi, Herrera y la pintura madrileña de su tiempo, Ministerio de Cultura. Banco Herrero, Madrid, 1986, pp. 304.

Sullivan, Edward J., Claudio Coello y la pintura barroca madrileña, Nerea, Madrid, 1989, pp. 206.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas (II). Museo de la Trinidad, Museo del Prado, Espasa Calpe, Madrid, 1991.

García Cueto, David, Claudio Coello: pintor, 1642-1693, Arco Libros - La Muralla, Madrid, 2016, pp. 164 f.92.

Other inventories +

Inv. Museo de la Trinidad, Pintura. Núm. 507.
507. / La Concepcion de la Virgen en un trono de niños con atributos del mismo misterio figs de cuerpo entº tamº nat.l/ Claudio Coello / alto 2,08 ancho 1,45 / y sin marco y en / Nº 83 / S.E.

Catálogo Museo de la Trinidad, 1865. Núm. 507.
ESCUELA MADRILEÑA. [...] CLAUDIO COELLO. [...] 507. La Concepcion. / Lienzo. - Al. 2,08. - An. 1,45. - Fig. t. n. / Firmado, Claudio Coello faciebat / Sobre una nube, rodeada de ángeles y rosas, sube al cielo la Purísima Concepción con vestido blanco y manto azul, redeada de ángeles y coronada de estrellas. Procede del convento de Bernardos de la Espina, donde estaba colocado en la sacristía de la iglesia.

Inscriptions +

Claudio Coello fa
Signed. Front, lower right corner

Location +

Madrid - Iglesia de San Jerónimo El Real (Deposit)

Update date: 04-11-2021 | Registry created on 28-04-2015

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