Spanish school; first half of the 16th century.

Spanish school; first half of the XVI century.
"Virgin and Child.
Carved and polychrome wood.
Presents faults.
Measurements: 38 x 15 x 11 cm.
Devotional sculpture of round bulk, carved in wood, polychrome and profusely gilded, representing in round bulk the Virgin Mary standing, holding the Child in her right arm. The Child appears dressed as is common in the iconography of the time, and Mary wears a red tunic, symbol of Calvary. With Renaissance sculpture we find the purest expression of the Spanish soul. In the hierarchy of our artistic excellence, the sculpture of the 16th century represents an equivalence of perfection with the painting of the following century. All the passion, the mysticism, the yearning for beauty, the exaltation of the spirit, the flame that burns the matter, we find it in these statues and reliefs that cover the altarpieces. Likewise, it can be affirmed that yes, there is a distinctly Hispanic renaissance that uses Italian forms to express an essentially anti-classical temperament and ideals, derived directly from Spanish religiosity. There is no radical break with the plastic art of the late Gothic; the naturalistic rhythms and excesses, the angular folds and violent chiaroscuro are softened, and more harmonious and balanced rhythms and more delicate lines are introduced. However, the expressive intensity is the same, seeking above all to delve into the soul, to disrupt the classical type of correction in favor of spiritual effusiveness that goes beyond pure aesthetics. Thus, although they will exist, the examples of idealized and beautiful characters, clearly classical Italian style, will be rare, and the individualized faces will proliferate, always reflecting the character and the inner religiosity.