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Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575)
Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575) - Paintings & Drawings Style Renaissance Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575) - Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575) - Renaissance
Ref : 89394
7 000 €
Period :
<= 16th century
Medium :
Oil on panel
Paintings & Drawings  - Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575) <= 16th century - Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575) Renaissance - Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575)
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European Works of Art from the Middle Ages to the XVIIIth century


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Madonna and Child - Attributed to MARCELLUS COFFERMANS (1520-1575)

Attributed to MARCELLUS COFFERMANS (Antwerp, approx. 1520-1575).
Madonna and Child.
Oil on panel.

21 x 13.5 cm; 28 x 18.5 cm (frame).

Image of a devotional nature, in which the artist presents the Virgin Mary held in her arms to Jesus the Child. Attention is focused exclusively on the two characters, who stand in the center of the composition. Finding mother and son frontally with respect to the viewer, the Virgin is also standing, leaning on a half moon, a characteristic that is usually common in the invocation of the Virgin as Immaculate. However, in this case, she holds the child in her arms, establishing visual communication between them. From the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period. , when the exacerbation of emotions characterizes a good part of artistic production.

Marcellus Coffermans was a Flemish Renaissance painter known, above all, for his religious works and his works inspired by works by other masters. He is known to be active in Antwerp between 1549 when he began his apprenticeship and 1575, with his own workshop after passing his masters exam in 1554, the year in which he entered the city's Brotherhood of San Lucas. Brujas, due to its similarity to works by Ambrosius Benson, Gérard David and Hans Memling, and following the words of the Prado Museum, stands out for a style “due to the light and pasiajistic treatment, the folding of the clothes and the firmness of the outline when drawing; he idealizes feminine faces, oval in shape and semi-closed eyes. He uses enameled colors and bluish tones. Most of his paintings are very small and painstakingly executed. “Archaic in character inspired by the Flemish masters of the 15th and early 16th centuries, often using engravings by Dürer and Martin Schongauer as models. At present, their paintings are preserved by prominent institutions such as the Museum of Fine Arts in Seville, the Monastery of the Descalzas Reales in Madrid, the Prado Museum in Madrid, the Museum of Villadiego de Burgos, the Royal Monastery of San Lorenzo de El Escorial. , the Lázaro Galdiano Museum in Madrid, etc.

Codosero Galería de Arte Antiguo

CATALOGUE

16th century Oil Painting Renaissance