Neapolitan school of the early eighteenth century. "Crucified Christ". Ivory, ebony wood and gilded metal....

Neapolitan school of the early eighteenth century. "Crucified Christ". Ivory, ebony wood and gilded metal.

Neapolitan school of the early eighteenth century.
"Crucified Christ".
Ivory, ebony wood and gilded metal.
Attached document of appraisal of the Spanish Federation of Antique Dealers.
Measures: 41 x 30 cm (Christ); 109 x 54 cm. (cross).
The realization of the figure of Christ in ivory has a long tradition in the history of art. On the one hand, it is a noble material, of beautiful appearance, with a light tone very appropriate for imitating flesh tones. On the other hand, its color and texture make it similar to marble, a material that, due to its weight and properties, cannot be used for the figure of the crucified, which must be nailed to a cross. In this case the wooden cross offers a very naturalistic and expressive image, enhanced by the contrast of color and texture of the two materials: the black color of the ebony wood contrasts with the gold of the metal, used for the figure of the Virgin and Child, Adam's skull and the rays that decorate the ends of the cross. On the other hand, from the second half of the 16th century, the production of small ivory sculpture experienced a golden age. Demand increased considerably, partly due to the predilection of collectors for small precious objects. This ivory boom continued until the middle of the 18th century, when it began to be replaced by the new fashion for porcelain. This piece has been worked entirely from a single piece of ivory, with the exception of the arms, which due to the limitations of the shape of the elephant's tusk have been worked separately and then assembled.
The Christ we are dealing with is characterized by its deep dramatism, which combines formal beauty and sobriety of treatment. In spite of the great emotional charge of the representation, in this case we are presented with a living Christ, with closed lips and reflective expression, directing his gaze towards his right shoulder. The anatomy is carefully studied and well worked, and reflects with naturalism the suffering of the body, but nevertheless leaving aside the emphasis on the pathetic. Following Neapolitan models, the anatomy is beautiful and balanced, tending to symmetry but veristic, emphasizing the beauty of the proportion of the parts to the whole and of the whole to the parts. The author has represented a particularly tragic moment, the moment when Christ breathes his last breath as he raises his gaze towards heaven. The deep feeling, pity and acceptance are perfectly reflected in the face, delicately chiseled, suffering and yet idealized, beautiful and natural at the same time. This piece is made entirely from a single piece of ivory, with the exception of the arms, which due to the limitations of the shape of the elephant's tusk have been worked separately and then assembled.