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ECOLE DE CATALUNYA, CERCLE DE JUAN DE BORGONA, C. 1500-1520
Estimate8 000 - 12 000 €
ECOLE DE CATALUNYA, CERCLE DE JUAN DE BORGONA, C. 1500-1520
The death of a holy monk
Oil on panel in a carved and gilded wooden arcature frame
175 x 105 cm
A saint's death
Oil on panel in a carved and gilded wooden arcature frame, 68.9 x 41.3 in.
A marvellous example of Spanish Gothic art, this altarpiece from the School of Catalunya has characteristics suggesting a painter close to Juan de Borgona. Although there are no documents to indicate his origin and training, it is known that he was mentioned in 1494 as a painter in the service of the Cathedral of Toledo. His style also allows us to affirm that he studied in Italy where, as the head of a very active workshop, he trained many students - Antonio de Comontes, Pedro de Cisneros and his own son Juan de Gorgoña the Younger - who spread the Renaissance style throughout Castile and as far as Aragon.
The clarity and gravity of this composition and the vibration of the colours give this altarpiece an almost theatrical solemnity. The figures, painted with precision from the front or in full profile, are given idealized faces with refined features, thus emphasizing the physical beauty.
The death of a holy monk
Oil on panel in a carved and gilded wooden arcature frame
175 x 105 cm
A saint's death
Oil on panel in a carved and gilded wooden arcature frame, 68.9 x 41.3 in.
A marvellous example of Spanish Gothic art, this altarpiece from the School of Catalunya has characteristics suggesting a painter close to Juan de Borgona. Although there are no documents to indicate his origin and training, it is known that he was mentioned in 1494 as a painter in the service of the Cathedral of Toledo. His style also allows us to affirm that he studied in Italy where, as the head of a very active workshop, he trained many students - Antonio de Comontes, Pedro de Cisneros and his own son Juan de Gorgoña the Younger - who spread the Renaissance style throughout Castile and as far as Aragon.
The clarity and gravity of this composition and the vibration of the colours give this altarpiece an almost theatrical solemnity. The figures, painted with precision from the front or in full profile, are given idealized faces with refined features, thus emphasizing the physical beauty.