Velázquez Portrait and Michelangelo Bronze to Headline Maastricht Art Fair
A captivating display of artistic brilliance is poised to enthrall attendees at the upcoming TEFAF art fair in Maastricht, netherlands. Opening March 15,the exhibition will feature a portrait by Diego Rodríguez de Silva y Velázquez,the renowned Spanish Golden Age master,depicting crucifix-unites-michelangelo-and-velazquez-spains-hidden-artistic-connection/” title=”Nun's … Unites … and Velázquez: Spain … – Archyde”>Mother Jerónima de la Fuente. This masterpiece will be presented alongside a bronze corpus, believed by some experts to have been modeled by Michelangelo himself. The pairing promises a profound exploration of faith, artistic influence, and the compelling narratives woven into these iconic works.
In 1620, a young Velázquez, than working in Seville, received a commission to paint Mother Jerónima de la Fuente. The resulting portrait immortalizes the nun as she prepared for a significant journey across the spanish empire. The painting portrays a woman of unwavering strength and resolve, holding a book in her left hand and a crucifix in her right, symbols of her devotion and purpose.
A Nun’s Journey and an Artist’s Vision
Following the completion of her portrait,Mother Jerónima de la Fuente,then 66 years old,embarked on an extraordinary voyage. She sailed first to Mexico and then across the vast Pacific Ocean to establish the first convent in the Philippines. She dedicated her life to devotion and physical penance, passing away ten years later, leaving behind a legacy of faith and service.
Velázquez’s portrait serves as a lasting testament to Mother Jerónima at a pivotal moment in her life. The artwork provides a glimpse into the character of a woman on the cusp of an exceptional mission. The crucifix she holds is more then a symbol of faith; it represents her unwavering determination and commitment to her spiritual calling.
Michelangelo’s Influence and a Bronze Christ
Complementing the Velázquez portrait is a 25cm-high bronze corpus, widely believed to have been modeled by Michelangelo. this bronze is thought to have served as a source of inspiration for the crucifix depicted in Velázquez’s painting. The bronze depicts Christ affixed to the cross with four nails, a detail that underscores the suffering and sacrifice central to Christian belief.
Stuart Lochhead Sculpture, the company presenting the works, has priced the bronze corpus at €1.8 million (£1.5 million).While the price of the Velázquez portrait remains undisclosed, previous sales of Velázquez’s works suggest a substantial value. His portrait of Saint Rufina fetched £8.4 million in 2007, and his painting of the Spanish queen Isabel de Borbón was valued at approximately £27.8 million before its withdrawal from auction, highlighting the significant market value of his artistic contributions.
Beyond the Names: Exploring the Stories
Stuart Lochhead emphasizes that the exhibition aims to delve beyond the renowned names of Velázquez and Michelangelo. The primary goal is to explore the narratives behind the artworks and the individuals who inspired them. Lochhead highlights the potential influence of Michelangelo’s relationship with vittoria Colonna,a poet and noblewoman,on his design for the bronze Christ,suggesting a deeper connection between personal relationships and artistic creation.
Let the holy nails from now on be my quills, and the precious blood my pure ink, my lined paper the sacred lifeless body.
Vittoria Colonna, Marchioness of Pescara
Colonna’s verse reflects on the intersection of the sacred and the creative, a theme that resonates deeply with the exhibition’s exploration of faith and art. Lochhead suggests that Michelangelo’s close bond with Colonna may have informed the tender and anatomically detailed depiction of Christ in the bronze, indicating the profound impact of personal relationships on artistic expression.
The Seville Connection and a Lingering question
The bronze corpus on display in maastricht shares similarities with other works attributed to Michelangelo, including a bronze corpus at the Metropolitan Museum of Art in New York. Lochhead notes its resemblance to the wooden corpus Michelangelo created for Santo Spirito early in his career, suggesting a recurring theme in the artist’s work and a consistent artistic vision throughout his life.
The popularity of Michelangelo’s design led to numerous casts being made in bronze and silver.Francisco Pacheco, Velázquez’s teacher and father-in-law, was known to have possessed a polychromatic version of the bronze. This connection raises a compelling question: was the crucifix held by Mother Jerónima in Velázquez’s portrait the same cast that arrived in Seville in 1597?
Was it hers that she brought? Or was it Pacheco’s? Was it always there in the workshop, so was it something she was handed?
Stuart Lochhead
While the answer remains uncertain, the exhibition invites viewers to consider the potential links between these artworks and the individuals who shaped their creation, fostering a deeper gratitude for the interconnectedness of art and history.
A Lasting Impact
Lochhead acknowledges the unlikelihood of the two works remaining together after the art fair. He hopes that their brief time together will highlight the personal and dynamic nature of art,faith,and iconography. These creations transcend their artists and belong, in part, to those who inspire them, emphasizing the collaborative and inspirational aspects of artistic creation.
We’re able to understand why these things were made – their backstory and who influenced them. So we’re bringing in the influence of Vittoria Colonna and Jerónima into the creation of two works of art, which normally you’d look at and say: ‘Well, these were made by the great artists and that’s the end of the story.’ But it’s not.
Stuart Lochhead
The TEFAF art fair in Maastricht offers a rare chance to witness the convergence of two artistic giants and to contemplate the profound stories behind their masterpieces.The exhibition, running from March 15, promises to be a highlight of the art world calendar, offering a unique opportunity to explore the intersection of faith, art, and human inspiration.
Unveiling Faith, Art, and Influence: An Exclusive Interview on the Velázquez and Michelangelo Masterpieces
Did you know a humble bronze corpus, perhaps sculpted by Michelangelo himself, may hold the key to understanding a profound masterpiece by Velázquez? This isn’t just an art historical curiosity; it’s a testament to the interconnectedness of artistic inspiration, religious devotion, and the enduring power of human connection.
World-Today-News.com Senior Editor: Dr. Isabella Rossi, renowned art historian specializing in the Spanish Golden Age and Renaissance sculpture, welcome to World-Today-News.com. The upcoming TEFAF Maastricht art fair features a Velázquez portrait of Mother Jerónima de la Fuente alongside a bronze corpus attributed to Michelangelo. Can you shed light on the meaning of this pairing?
Dr. Rossi: Thank you for having me. The juxtaposition of Velázquez’s intensely personal portrait of Mother Jerónima and the breathtaking bronze corpus, potentially by Michelangelo, creates a truly unique dialog. It’s not merely about showcasing two artistic titans; it’s about exploring the intricate web of influence, faith, and artistic transmission across centuries and geographical boundaries. The exhibit effectively highlights the interplay between the devotional art of the Spanish golden Age and the High Renaissance.
World-Today-news.com Senior Editor: The Velázquez portrait depicts Mother Jerónima, a woman embarking on a significant religious mission. How does this image relate to the broader context of 17th-century Spanish religious devotion?
Dr. Rossi: Velázquez masterfully captures Mother Jerónima’s unwavering resolve. The crucifix and book she holds aren’t mere props; they’re powerful symbols of her faith and intellectual pursuit. This reflects the profound religious fervor that characterized 17th-century Spain, a period marked by intense Counter-Reformation efforts. The painting also exemplifies the increasing focus on portraying real individuals, even nuns engaged in transformative journeys, not solely idealized saints. This focus on realism and individual spirituality is a key characteristic of the Baroque style seen in Velázquez’s work.
World-Today-News.com Senior Editor: The bronze corpus, potentially modeled by Michelangelo, is believed to have inspired the crucifix in Velázquez’s painting.How might this influence be interpreted?
Dr. Rossi: The suggestion that Michelangelo’s bronze corpus,with its exquisite anatomical detail and expression of suffering,served as the model for the crucifix in the Velázquez portrait is fascinating. It demonstrates a potential artistic lineage, bridging the Italian High Renaissance and the Spanish Golden Age.This influence highlights the enduring impact of Michelangelo’s work on subsequent generations of artists, even across national borders. The anatomical precision of Michelangelo’s style, evident even in miniature works like this bronze, directly contrasts with the stylized representations present in earlier crucifix depictions.
World-Today-news.com Senior Editor: The exhibition also explores the relationship between Michelangelo and Vittoria Colonna. What role did this personal connection play in shaping Michelangelo’s artistic sensibilities?
Dr. Rossi: Vittoria Colonna,a highly learned woman and influential poet,was a close confidante of Michelangelo. Their intellectual and spiritual bond profoundly impacted his later works. Colonna’s own powerful religious writings and philosophical views possibly contributed to the intense emotional and spiritual depth expressed in the bronze corpus. This collaboration between artist and patron challenges the singular-genius narrative often associated with the High Renaissance. The exhibition successfully promotes a more collaborative and nuanced view of artistic creation, emphasizing the reciprocal influence between artists and their patrons or close companions.
World-Today-News.com senior Editor: The potential connection between pacheco, Velázquez’s teacher, and a possible earlier version of the bronze in Seville is intriguing.What are the implications of this connection?
dr. Rossi: francisco Pacheco’s ownership of a polychromatic version of the bronze raises a key question: Was the crucifix in Velázquez’s portrait a direct replica of that earlier work? this connection highlights the importance of artistic workshops and the transmission of artistic ideas. The presence of such a significant work in Pacheco’s possession underscores the interconnectedness of artistic circles across countries and generations. It speaks to a crucial aspect of artistic practice – the way established figures influence and motivate upcoming artists.
World-Today-News.com Senior Editor: What is the broader significance of this exhibition beyond the individual artworks?
Dr. Rossi: This exhibition transcends the mere appraisal of individual pieces. It underscores the importance of considering the broader artistic and social contexts from which these artworks emerged, illustrating the powerful interweaving of faith, art, and personal relationships in the creation of masterpieces. Key takeaways include:
the enduring impact of Michelangelo’s artistic legacy.
The realistic and spiritually profound approach of Velázquez’s portraiture.
The significant role of artistic patronage and intellectual exchange in shaping artistic creativity.
The complex ways in which art interacts with religion and personal experience.
World-Today-News.com Senior Editor: Dr. Rossi, thank you for these invaluable insights. This exhibition clearly presents a rare opportunity to explore the fascinating connections between these artworks and the lives of the people who inspired them.
Dr. Rossi: My pleasure. I encourage readers to learn more about the interconnectedness of art history, personal stories, and the lasting impact of creativity. Share your thoughts on this unique exhibition in the comments section below!