Flemish Master; early 16th century

Flemish master; early 16th century.
"Virgin and Child.
Oil on panel.
Size: 84 x 63 cm; 103 x 80,5 cm (frame).
Devotional scene starring the figure of the Virgin, who holds her son, standing on her knees. Both characters show closeness to each other by joining their cheeks in an affectionate attitude, however, the serious expression of the faces of both, added to the elongation of the anatomical dimensions of the protagonists, contribute a certain staticism that further reinforces the idea of divinity. Set against a neutral green background, the artist plays with a cunning shadow with which he manages to create volume despite the use of a single tone as a background. In this work there is a realistic reaction to the fantasy of international gothic, it is a painting very influenced by the art of sculpture, it is usually generalised oil painting (on panel), it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an emphasis on detail, with a meticulous description, nothing escapes the painter's eye. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, achieving perspective in an intuitive manner. The piece is aesthetically close to some of the works by the painter Roland de Mois, such as "The Virgin and Child", which belongs to the collection of the Museum of Navarre, where a similar aesthetic finish can be seen in the treatment of the figures and in the way in which the artist sets the composition.
Roland de Mois, of Flemish origin, developed his activity in Spain under the patronage of the Duke of Villahermosa, Martín Gurrea y Aragón. Initially he painted portraits of the Duke's family, but it is thought that he painted for Queen Juana. From the documentary records of the city of Saragossa, it is known that he was a painter of portraits and religious subjects, establishing a very prolific workshop. His work is an example of the splendour of Aragon during this period, with a knowledge of Italian painting, being a follower of Venetian models, although without abandoning an aesthetic of Flemish origin.