Flemish school; first half of the 17th century.

Flemish school; first half of the XVII century.
"Purisima".
Oil on oak panel. Cradled.
-Bibliography: Urrea Fernández, J. and Valdivieso, "E. Baroque painting from Valladolid". University of Valladolid, 2017.
Presents Repainting and restorations.
Frame with stamp of Sebastián Gabriel.
Measurements: 32.5 x 27 cm; 49 x 44 cm (frame).
Inscribed in a golden break of glory is arranged the figure of the Virgin as the Immaculate Conception. Placed on a pedestal created by the fourth lunar crescent, the figure of the Virgin stands upright, monumental. She is facing the viewer, however, she lowers her face in a pious attitude and moves it slightly to the left, thus adding a certain three-dimensionality to the scene. Her serene face and pious attitude, with both hands on her chest, indicate that she is addressing God. Thus establishing a direct contact with him and not with the viewer. A spectator to whom she presents herself in a regal manner, thanks to her dominant position in the composition, her bearing and the monumentality of her forms. Placed under the representation of the Holy Spirit, as queen of heaven and Christianity, a feature that is evident in her golden crown. The figure is accompanied by several cherubs arranged among leaden clouds that close the scene as a mandorla and merge with the landscape of the lower area.
Previously this piece was attributed to the painter Francisco Martínez, in fact there are certain similarities between this work and the painting of the Immaculate Conception with Saint Agatha, Saint Francis and Don Andrés Vega, which belongs to the collection of the Museo Nacional Colegio de San Gregorio, Valladolid. Son of the well-known mannerist painter Gregorio Martínez (Valladolid, 1547-1598), he began his training under his father's guidance and excelled as a portraitist. His painting reveals a great stylistic influence of Mannerism.