Spanish master; 17th century.

Spanish master; XVII century.
"Penitent St. Francis".
Oil on canvas.
Preserves original canvas.
Presents losses and Punctures.
Measurements: 185 x 125 cm; 189 x 129 cm (frame).
The work shows St. Francis dressed in a dark brown habit, holding a skull with solemn and meditative expression. The artist immortalizes with his brush a moment of profound reflection on death and spirituality, common themes in Renaissance and Baroque sacred art. The main figure is kneeling on the ground, immersed in the gloom of a dark and austere scene, where the use of light and shadow enhances the intimacy and drama of the work.
The emotionality in this painting is conveyed through the dark palette and the careful chiaroscuro that directs attention to the face and hands of the saint. The texture of the habit and the detailed treatment of the skull add realism, creating an atmosphere of recollection and reverence. In the background, almost imperceptible, another figure can be observed, which seems to accompany the saint's meditation, adding a layer of spiritual depth to the composition. The presence of religious elements, such as a crucifix and open books, emphasizes the devotional context and underscores the reflection on mortality and sacred knowledge.
The work achieves a powerful emotional charge through the serene and humble depiction of the saint, inviting the viewer to share in his introspection and spiritual quest. The melancholic tone and attention to detail symbolize the fragility of life and the path to salvation, thus achieving a deep and contemplative impact.
Aesthetically the work is close to the style of Herrera "The Elder", in fact it bears a certain similarity to his painting of St. Francis, currently in the collection of the Meadows Museum in Dallas. Francisco de Herrera the Elder (Seville; ca. 1590-Madrid; ca. 1654), was one of the greatest representatives of Sevillian Baroque painting. Belonging to a family of artists, formed by painters and gilders, he was first educated in his father's workshop, although some sources cite Pacheco as his teacher. Regarding his style, the Prado Museum defines it as follows: "In the early years of his activity he appears indebted to the art of illumination practiced by his father, especially in his concern for the linear. The late Mannerist formulas practiced by Pacheco are also present in this initial stage. But the most noticeable influence in the work of the mature Herrera was the art of Juan de Roelas, one of the leading figures of Sevillian painting in those years. From him comes above all the workmanship, with loose touches and Venetian roots, which Herrera exacerbated to reach an extreme looseness of brushstroke. Thus, even though his works still have compositional schemes that are certainly mannerist, they are softened by the uninhibited technique that he practices".