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Follower of JUAN DE JUANES

Auction Lot 73 (35327158)
Follower of JUAN DE JUANES (Valencia?, 1510 - Bocairente, Valencia, 1579), c. 1600.
"Ecce homo.
Oil on panel. Cradled.
Presents restorations.
Measurements: 77 x 62 cm; 88 x 74 cm (frame).

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Last Bid : 6500
ITEM SOLD
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BID HISTORY

DESCRIPTION

Follower of JUAN DE JUANES (Valencia?, 1510 - Bocairente, Valencia, 1579), c. 1600.
"Ecce homo.
Oil on panel. Cradled.
Presents restorations.
Measurements: 77 x 62 cm; 88 x 74 cm (frame).
In this devotional canvas, painted for an altar or private chapel, the theme of Ecce Homo is represented, very common in this type of paintings. Of simple and clear composition, with the face of Christ in the foreground, the absence of narrative details deepens the expressive power and pathos, designed to move the soul of the faithful who pray before the image, within a tremendist sense very typical of Catholic countries. Aesthetically the work is close to the painting of Juan de Juanes, specifically to the panel painted around 1570 by Juan de Juanes, currently preserved in the Prado Museum, which came from the Royal collection.
The theme of Ecce Homo belongs to the cycle of the Passion, and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, symbolic color of the Passion) and placing a reed in his hand, kneeling and exclaiming "Hail, King of the Jews!". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in front of that of the leaders who were judging him there. From its formal and technical characteristics we can suggest that the work follows models of the artist Juan de Juanes, the name by which Vicente Juan Macip, son of Juan Macip and key painter of the Spanish Renaissance, is known. He trained with his father, and in 1534 he was commissioned alone to paint the altarpiece of St. Eloy in the church of Santa Catalina, his first autograph work. It is conjectured whether Juanes studied in Italy, as his work is clearly influenced by that school, especially Sebastiano del Piombo. However, historians tend to think that he never left Spain and that, like his father, he absorbed these influences by observing first hand the Italian paintings that arrived in the Kingdom of Valencia. He was the most important painter of Valencian painting of his time, and although he was mainly dedicated to religious painting, he also painted notable portraits such as that of Alfonso V of Aragon. Juan de Juanes is currently represented in the Prado Museum, the Hermitage in St. Petersburg, the J. Paul Getty in Los Angeles, the Fine Arts Museum of Valencia, the Courtauld Institute of Art in London and other important collections.

COMMENTS

It presents restorations.
This lot can be seen at the Setdart Barcelona Gallery located at C/Aragón, 346.

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