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Saint Peter was sleeping when an angel woke him in order to break his chains and release him from prison. The stone block on which the saint is sleeping and the keys and sandals on the floor are his identifying attributes. The painting’s unusual format reflects its original function as an over-door in the convent of the Ángel Custodio (Guardian Angel) in Granada.
Nude, Christ leans over to the right while holding his tunic. The whipping post and whips are visible in the background to the left. This is a preparatory work for the canvas at the Academy of San Fernando, which Wethey considers a workshop piece. It is completely repainted. Highlights have been added with white brushstrokes, the contours have been emphasized and a thick wash has been applied to t
In the upper right register, the Virgin is seated on clouds and the Christ Child moves away from his mother towards Saint Felix, whose open arms await the little one entrusted to his care. In the lower left register, Saint Felix and another Capuchin monk kneel on the steps of a stone platform in a monastic cell. Through the open balcony, the foliage outside can be perceived. The very well develope
The drawing corresponds to the painter’s mature period when he had already gained all his extensive experience and knowledge as a draughtsman. This is perceptible from the intelligent use of ink wash; that is to say, the application of the different layers of ink with the brush for shading and to create volume. This is achieved by pen strokes that recreate the folds of the fabric. It was initially
Several pieces of paper have been glued to the original support by the artist in order to correct the original lines of certain parts of the composition (the angel’s shoulder and Abraham’s head). Isaac appears at the right, lying seminude and blindfolded on the pyre of trunks. Abraham brandishes a knife in his right hand, holding his son’s head with the left and turning to look at the young angel
Un retablo imponente, de elegantes proporciones, no incluye demasiados componentes pictóricos o escultóricos, confiriendo así mayor importancia a la arquitectura y su ornamentación. En el registro inferior no hay elementos figurativos de pintura ni escultura, solo los compartimentos que flanquean el tabernáculo coronado por la urna que guardan los restos de San Isidro, venerados en aquel momento e
