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The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
The figure depicted here is recognizable as Saint John the Baptist by his clothing, the lamb that accompanies him, the cross with its banner, the stream running at his feet and the shell with water alongside him, which was his baptismal instrument. He holds a book in his hands, which was not customary in images of him but not unknown in Andalusia, as can be seen, for example, in Juan de Mesa’s scu
The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl
All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion of the pictorial surface. This insures her powerful presence, and the painter emphasizes it with a very elaborate frame that fills the image with meaning. There are two clearly differentiated parts, th
Dibujo en el que se representa al santo en pie, caminando de perfil hacia la derecha, con el cáliz de donde sale el dragón, en la izquierda.Parece formar parte de una serie de Apóstoles, como los que hubo en la Colección Jovellanos de Gijón. Muller señala que la posición de sus pies se corresponde casi literalmente con la del San Felipe de aquella serie. (Texto extractado de Pérez Sánchez, A. E.,
La Virgen en pie, a la izquierda, coloca con la ayuda de un ángel mancebo, la casulla a San Ildefonso, arrodillado a sus pies. Encima ángeles con la mitra, el báculo y la cruz, atributos episcopales del Santo.En relación muy directa, aunque con leves variantes, con el lienzo hoy en el Museo de Córdoba, y procedente seguramente del convento de San Francisco de la misma ciudad, que fue muy copiado e
El Santo, en pie, recostado en un grueso tronco, mira al espectador y sostiene con la mano derecha un grueso libro y con la izquierda la espada. En la misma hoja encontramos un estudio de rostro de anciano, seguramente para el propio Santo, dos cabecitas de ángeles niños y un pie.P. Muller, con excesivo rigor, no considera la calidad del dibujo como representativo del artista, y lo reproduce como
