Colnaghi Collections_Vol 01 - Page 45



Other treatments of the subject were executed by the Master
Thorns, appearing in a panel from the Altarpiece of the Magi by the
of Borbotó, Nicolás Falcó, Francisco de Osona, Miguel Esteve,
Master of Perea, formerly in the Valencian monastery of Santo
the Master of Alzira, Fernando Yáñez de la Almedina, Vicent
Domingo (now in the Museo de Bellas Artes).
Macip, and his son Joan Macip, better known as Joan de Joanes.
Among the group of the chosen is the kneeling Adam and the
The written word and pictorial representation are unified in Joan
partially nude Eve; Saint Dimas the Good Thief Embracing the
de Burgunya’s canvas. In Chapter CCXXXVII of the above-
Cross, a popular devotional subject in Valencia; Saint John the
mentioned Vita Christi, entitled “Co lo Señor ab tota la multitude
Baptist wearing his hair shirt; and the ancient, just and pious
dels angels e sancts pares aperegue a la sua carissima mare e del
Simon who held the Divine Infant in his arms in the temple in
inestimable goig e elgri de aquella,” Isabel de Villena quotes the
Jerusalem (Saint Luke 2: 25-35)
Marian antiphony of the Regina Coeli (Regina coeli, laetare, alleluia/
J osé G ómez F rechina
Quia quem meruisti portare, alleluia./Resurrexit, sicut dixit, alleluia./Ora
pro nobis Deum, alleluia), partially visible here on the scroll held by
the angel. Burgunya illustrates this passage through a palatial
setting expressed in a classical idiom with marble columns.
Proceeding ahead of the Old Testament righteous, Christ holds
the Cross in his left hand, together with the standard, while with
his right he blesses his Mother.
The book held by Mary has two biblical texts from the Psalms:
“Convertisti Planctum meum in gaudium mihi; conscidisti
saccum meum, et circumdedisti me Leticia” (29:12) and “Quantas
ostendisti mihi tribulationes multas et malas! Et conversus
vivificasti me, et de abyssis terrae iterum reduxisti me” (70:20).
1.
The presence of Saint John the Evangelist next to the Virgin
is unusual and constitutes his only known appearance in this
subject. The iconography also lacks an altar with the Crown of
44
2.
Fig. 2.1 Joan de Burgunya, Pentecost, oil on panel, 143.5 x 87 cm,
Valencia, Museo de la catedral de Valencia.
Fig 2.2 Joan de Burgunya, Scene from the Life of Saint Andrew, oil on panel,
143 x 87 cm, Valencia, Museo de la catedral de Valencia.
3.
José Gudiol i Ricart, Spanish Painters, exh. cat. (Toledo, OH: Toledo Museum of
Art, 1941), p. 50.
Joan Ainaud de Lasarte, “La pintura dels segles XVI i XVII,” L’art català, II
(Barcelona: Aymà, 1958), pp. 76-77.
Miguel Ángel Catalá Gorgues and Vicente Samper Embiz, “La iconografía de la
Primera Aparición en la pintura valenciana,” Saitabi (1995): pp. 93-108, no. 45
45

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