Flemish school; first third of the 17th century.

Flemish school; first third of the seventeenth century.
"Virgin and Child.
Oil on copper.
It has an ebony veneered wood frame of the seventeenth century.
Measurements: 25.5 x 20 cm; 41.5 x 37 cm (frame).
This painting on copper, attributed to the Flemish School of the first third of the XVII century, represents the Virgin with the Child in a scene of devotional character with strong symbolic load. The composition is divided into two levels: in the lower part, the Virgin Mary, wrapped in a dark blue mantle with a red dress, holds the Child Jesus, who extends his arms in a dynamic gesture. Her expression and posture seem to anticipate her sacrificial destiny. To the right, a green canopy with open curtains indicates the intimate and sacred space of the scene.
At the top, angels hold a large cross, a premonitory element of the Passion of Christ. These figures, with flowing robes and graceful movements, convey dynamism and depth to the composition. The rich, contrasting colors, dramatic lighting and detailed modeling of the figures are typical of Flemish art of the period.
The Flemish School stood out in the European art scene for its technical virtuosity and special attention to detail. Unlike the Italian tradition, which emphasized monumental composition and the idealization of figures, Flemish artists developed a meticulous painting, with great realism in faces, textiles and objects.
One of the distinctive features of this school is the use of painting on copper, which allowed obtaining a smooth and shiny surface, ideal for small formats and extreme detail. In addition, the mastery of chiaroscuro and chromatic richness provided a sense of volume and depth, reinforced by the precision in the application of light.
This tradition, influenced by masters such as Rubens, Van Dyck and the Brueghel brothers, combined religious elements with an emotional expressiveness and a narrative sense that sought to move the viewer. The present work reflects this approach, presenting not only a devotional image, but also a carefully structured composition, where the Flemish technique highlights the quality of the materials and the sensitivity in the representation of the divine.