Francisco Antolínez y Sarabia

FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, ca. 1645 - Madrid, 1700)
"Adoration of the Magi":
Oil on canvas. Relined.
Measurements: 62 x 42 cm; 73 x 52,5 cm (frame).
Numerous paintings attributed to this painter are known from the few works signed by his hand, especially the Adoration of the shepherds of the Cathedral of Seville, dated 1678. Palomino and Ceán Bermúdez were the first to offer biographical data on this painter, nephew of José Antolínez (Madrid, 1635-1675), whose main profession was that of a lawyer. Later studies by Angulo, Pérez Sánchez and Valdivieso shed light on his pictorial production. Both Palomino and Ceán Bermúdez agree that he was artistically trained in the Sevillian school of Murillo. He specialized in making small or medium format paintings, grouped in series of six, eight or twelve paintings, in which he mainly represented religious scenes. In his compositions there are similarities with Ignacio de Iriarte in terms of landscape, Matías de Arteaga in terms of architecture and Murillo when it came to grouping the characters. He was also inspired by engravings and prints. His workmanship is loose, dynamic and nervous. The figures, popular, small, but slender in proportions and light in movement, move in environments of markedly contrasting light and shadow, which reveal a vivid color and reveal, along with some details and resources, a certain scenographic interest that in this case is established through the use of the ruins. Both the lower left and right angles show the inventory numbers. While on the left a "2" can be glimpsed, on the right, in red, a "290" can be clearly read. To compare with the Epiphany preserved in the Church of Nuestra Señora de los Remedios de Zamora or the Adoration of the Magi, attributed to the painter's brush, from the Prado Museum.
Brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in many different subjects. He was introduced to the practice of painting, achieving success with small format works, generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez noted that after studying law in Seville, he learned painting at Murillo's school, attending the academy established in the Casa Lonja of the same city, where he was recorded in 1672. That same year he must have moved to Madrid to meet with José Antolínez, although it is probable that after his death he returned to his native city for some time. He finally settled definitively in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, since he preferred to present himself as a lawyer. Antolínez shows himself to be heir to the Flemish style of Ignacio de Iriarte in his landscapes, and in the architectural backgrounds of Matías de Torres. Regarding his figures, they denote a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum of Ciudad Real, the Episcopal Palace of Huesca, the parish of Santa Ana de Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centers, public and private collections.