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Circle of Rodrigo de Osona the Elder (Valencia, 1440 - 1518), Nativity

$16,993.27

£12,557.84

€17,496VAT Included

CA$23,580.72

A$24,008.59

CHF 13,826.78

MX$289,284.99

NOK 160,460.68

SEK 161,894.92

DKK 109,786.74

About the Item

Circle of Rodrigo de Osona the Elder (Valencia, 1440 - 1518) Nativity Oil on panel, 89 x 59 cm Framed, 99 x 69 cm In a picturesque setting, protected by an imposing Renaissance loggia of clear Italian inspiration that opens onto a verdant landscape, the Virgin Mary and St. Joseph kneel in prayer before the Child lying on the ground. Behind them, two shepherds observe the scene: one of them points the Child to his companion, while a donkey and an ox watch from the left archway. The presence of St. Joseph holding a lighted candle alludes to the visions of St. Bridget of Sweden, according to which the divine light emanating from the Child tried to extinguish the candle's flame. With the exception of the Virgin and Child, depicted with exquisite elegance and delicacy, the other figures show more pronounced and realistic features in keeping with their social status. This approach reflects the Nordic influences prevalent in Valencian workshops in the late 15th century, also evident in the way the heavy draperies with their broken folds are treated. The panel in question, in fact, is referable to the circle of the Valencian painter Rodrigo de Osona the Elder (Valencia, 1440 - 1518), active in the Spanish city between 1464 and, presumably, 1518. Considered to be among the most important proponents of the Renaissance in Spain, his name is often associated and confused with that of his son Francesco de Osona (Valencia, 1465 - 1514), who died before him and with whom he worked closely in his own workshop (thus works are often attributed to both). His artistic training, particularly his acquisition of Flemish models, most likely took place in his hometown itself, given the presence of a renowned family of painters from Bruges: Louis Alincbrot, the progenitor of this family, was active in Valencia from 1439 until his death between 1460 and 1463. He was succeeded by his son Jordi Alincbrot, also trained in Bruges, documented in Valencia between 1463 and 1481. During the years when Rodrigo de Osona had to serve his apprenticeship, the famous Spanish painter Bartolomé Bermejo settled in the city, particularly influencing his painting style. Their collaboration is attested in 1485, when Bermejo returned to Valencia after his Aragonese period. On that occasion, the Osona workshop handled the two side panels and the grisailles of the reversi of the Triptych of the Virgin of Montserrat in the cathedral of Acqui Terme, in the province of Alessandria. In addition to the Flemish influence, Rodrigo de Osona was also permeated by the models of Italian Renaissance painters who had settled in Valencia since 1472, such as Paolo de San Leocadio known as Paolo da Reggio and Francesco Pagano. Evidence of this can be seen in the early integration of Renaissance decorative elements into his works, as visible in the glaring example of the predella of the Crucifixion altarpiece, created in 1476 for the church of St. Nicholas in Valencia. Rodrigo de Osona was among the first to be fascinated by the innovations of the Italian Renaissance style, skillfully combined with the realism of Flemish art, which was widespread on the Iberian Peninsula at the time. His paintings reveal a predilection for depictions that emphasize devotion, manifested through aspects of kindness and gentleness, rather than adhering to a perception of reality marked by rigor and restraint. Nevertheless, meticulous care in defining natural and architectural backgrounds emerges, highlighting superb mastery in the use of oil paint. A comparison with The Nativity or The Adoration of the Child by Rodrigo and his son Francisco, housed in the Prado Museum in Madrid, supports the attribution of this panel to a member of the painter's circle, who had had direct exposure to the innovations adopted by the master in his works. Another interesting element that enhances the value and charm of this panel is the presence of the monogram "M" on the Virgin's cloak: one might suggest, in fact, that the crown motif accompanied by the letter "M," actually indicates a provenance of the panel from the convent of the Poor Clares of St. Clare in Valencia. This institution was transferred from Gandia to Valencia in 1458 at the behest of Queen Mary of Castile (1401-1458), consort of Alfonso V, King of Aragon and Valencia, often indicated by the Marian monogram "M" surmounted by the crown.

Dimensions:
Height: 35.04 in (89 cm)Width: 23.23 in (59 cm)Depth: 1.97 in (5 cm)
Style:
Other (Of the Period)
Materials and Techniques:
Wood,Oiled
Place of Origin:
Spain
Period:
15th Century and Earlier
Date of Manufacture:
15th century
Condition:
Wear consistent with age and use.
Seller Location:
Milan, IT
Reference Number:
1stDibs: LU5918250778232

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17th Century, Italian Oil on Panel Painting Depicting Madonna della Purità The painting, executed in oil on a circular wooden panel and presented in an imposing carved and gilded wo...

Category

Antique 17th Century Italian Renaissance Paintings

Materials

Wood, Giltwood

Circle of Rodrigo de Osona the Elder (Valencia, 1440 - 1518), Nativity

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