This beautiful Madonna with Child illustrates the passage of the Spanish sculpture from Gothic to Renaissance, under the double influence of Italian and Burgundian currents. Our Virgin remains very Gothic in its posture and typology. There is, however, an appeasement of the drapery that no longer show the many graphic breaks of late Gothic, especially German and Flemish.
Alabaster sculpture is typical of northern Spain, especially around Burgalese and Aragonese artists. The alabaster, often slightly yellow extracted in the area was carved and partially gilded and painted. On our Virgin, the carnations are painted in flesh, the hair and the feathers of the bird raised with gold, as well as the dress studded with stars and fleurs de lys. The remains of a green lace decoration are visible on the Virgin's throat.
Our sculpture is close to the burgalese school, for instance the kneeled Madonna of the Prado Museum, end of the XV th c. It can also be compared to aragonese art, especially the work of Damian Forment (Piedad, Mare de Deu de les Neus around 1530) and his companion Gabriel Yoli, or Joly, probably born in Noyon in Picardy (1470-1538) - for example the work on the altarpiece of Santiago at the collegiate church of Bolea, or the remains of the altarpiece of Sijena.
Very good conservation. Stains, paint and gilding wear. The tip of the Virgin's nose is broken, and two fingers are glued together. A corner of the base is broken.