Colnaghi Foundation Journal 02 - Page 188



188
PEDRO ORRENTE / The Spanish Bassano
PEDRO ORRENTE / The Spanish Bassano
they receive the homage and adoration of the kings
and their retinue. The star that guided them from the
Orient is visible above the makeshift structure at the
top left. The naked Christ Child sits on the lap of the
Virgin, who is seated on a rock, while Saint Joseph –
once again leaning on a stick – stands behind Mary.
In the foreground, the kneeling Melchior, his head
uncovered and with a long white beard, looks towards
the Christ Child. Two pages hold up his ornate brocade
mantle. In general, the figures’ clothing reveals the type
of broken folds typical of Orrente.
These two paintings on copper relate compositionally,
with almost no variants, to two canvases by Orrente
produced for his altarpiece (fig. 11) in the parish church
Fig. 11 / Pedro Orrente,
altarpiece of the Epiphany,
1628-1629, Yeste, church
of the Asunción.
Fig. 12 / Pedro Orrente,
Adoration of the Shepherds,
1628, oil on canvas, 190 x
124 cm, Yeste, church of
the Asunción.
Fig. 13 / Pedro Orrente,
Adoration of the Magi,
1629, oil on canvas, 222 x
152 cm, Yeste, church of
the Asunción.
189
of the Asunción in Yeste (Albacete): the Adoration of the
Shepherds (fig. 12) and the Adoration of the Magi (fig. 13).
The upper register of the altarpiece is dated 1628,
while the bottom, forming a kind of a predella, is
comprised of busts of Saint Peter and Saint James the
Apostle. The two canvases for Yeste were undoubtedly
executed close to 1629 when Orrente painted the
principal altarpiece and the lateral altarpieces for the
town’s Franciscan monastery, established following the
arrival of the Discalced Franciscans in 1618.
In the Adoration of the Shepherds in Yeste – which occupies
the second tier of the altarpiece – the composition is
reduced at the bottom compared to the present version
on copper.

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