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This likeness of the Franciscan clergyman is a significant example of elongated bust portraits that are quiet customary in the Western figurative tradition. Such works allow a closer approach to the model’s essential features, reducing but not eliminating accessory elements such as his clothing and a summary depiction of the surrounding space. Rather than overly limiting information on the protago
Surrounded by angels, the Holy Family, with Saint Elizabeth and the infant Saint John, receive Saint Louis, King of France. The background combines architecture and curtains. This work is organized like a large stage set, using the infant Saint John and an adjacent lamb to invite the viewer to participate. The dynamic and complex composition with its brilliant and expansive colors recalls models f
Various figures of Virtues and saints are grouped around the Virgin and Child, forming an extensive “sacra conversazione”. The infant Saint John the Baptist is easily recognisable, as are Saint Elizabeth of Hungary, Saint Paul, Saint Peter, Saint Francis and Saint Anthony of Padua, all of whom were among the most popular saints in Baroque Spain.
Spanish saint Dominic de Guzmán (1170-1221) founded the Dominican Order, which became one of the most powerful and influential religious groups in Catholic Europe, partially as a result of its defense of orthodoxy through the Inquisition, which was led by Dominican prelates. Claudio Coello made five paintings for their convent of El Rosario in Madrid, one of which is presented here. They we
Vestido con el típico sayal de los franciscanos, sujeto por el rústico cordón con los tres nudos significativos de los votos de pobreza, castidad y obediencia. De San Antonio conocemos, a través de los escritos de San Bernardino de Siena, que era de aspecto corpulento y bajo de estatura, pero la iconografía habitual prefirió dulcificar su fisonomía e insistir en la amabilidad o gallardía de su per
Raised on a cloud, Saint Augustine (354-430) triumphantly combats Hell and Paganism, symbolised by the dragon and classical sculpture below. The compositional dynamism is emphasised by the sinuous form of the saint’s body, its sense of movement and the group of angels clustered around him, including one on the right that directs its sword against the enemies of religion. The canvas was painted for
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
En un interior, de forma absidial, y sobre unas gradas, aparece representada la Virgen, sedente, con el Niño de pie en su regazo. Tras ella se sitúa Santa Ana y a su lado derecho, San Juanito, con el cordero. A la derecha del observador, en el primer término compositivo, se sitúan San Pedro y San Miguel, y a la izquierda, San Francisco y San Antonio. Tras ellos, en una tribuna con balaustrada y c
Dibujo en el que se representa la Inmaculada Concepción en pie sobre el creciente de la luna, con el brazo izquierdo extendido y el derecho sobre el pecho, con un grupo de angelitos revoloteando a sus pies.Al dorso apuntes ligeros para la propia Inmaculada y esbozo de un San Ignacio de Loyola, que se corresponde con el de la iglesia de Valdemoro y permite la atribución a Claudio Coello a quien ya
