Saint Bartholomew 17th century Spanish School

Title: Saint Bartholomew 17th century Spanish School
Description: Saint Bartholomew was one of the apostles of Jesus, and is mentioned in the Gospels always in the company of Philip. According to John, in whose Gospel he appears under the name Nathanael, he was one of the disciples to whom Jesus appeared at the Sea of ??Tiberias after his resurrection. According to the Acts of the Apostles he was also a witness to the ascension of Jesus. The tradition collected by Eusebius of Caesarea narrates that Bartholomew went to preach the gospel to India, where he left a copy of Matthew in Aramaic. The Armenian tradition also attributes to him the preaching of Christianity in the Caucasian country, along with Saint Jude Thaddeus, for which both are considered patron saints of the Armenian Apostolic Church. His martyrdom and death are attributed to Astiages, king of Armenia and brother of King Polymius, whom the saint had converted to Christianity. As the priests of the pagan temples, who were running out of followers, protested to Astiages about Bartholomew's evangelizing work, the ruler summoned him and ordered him to worship his idols, just as he had done with his brother. . Faced with the saint's refusal, the king ordered that he be skinned alive in his presence until he renounced God or died. The image of Saint Bartholomew has undergone few modifications throughout the history of art, with the representation of the saint at the time of martyrdom being common. Thus, he is usually represented as being skinned, either on a foal or tied to a tree. He has also been depicted working miracles: resurrecting the sons of King Polymius and freeing his demon-possessed daughter. On rare occasions he appears to be flogged. Sometimes he is represented with a large knife alluding to his martyrdom, according to which he was skinned alive, which is why he is the patron of tanners. Also in connection with his martyrdom, he sometimes appears skinned, showing his skin caught on his arm as if it were a garment. Aesthetically, this work is close to the models of Sebastián Martínez Domedel Jaén, around 1615 - Madrid, 1667), a follower of the Murillo school is located by Palomino in Jaén, training with Antonio García Reinoso. He would arrive in Madrid after Velázquez died (so it would not have been possible for him to learn with him), the city where he would die in 1667, without means. Experts suppose that perhaps he would study in Córdoba, in the workshop of Juan Luis Zambrano, or with Antonio del Castillo (which would explain his dedication to landscapes), although it is possible that he was trained in Jaén, as has already been done. referred. A trip to Madrid is documented in 1661, to visit the Royal Collections of El Escorial, commissioned by the cathedral chapter of Jaén, with the aim of copying some painting for the Altarpiece of the Holy Face of that building. Some documented works of the master are preserved, which show an eclectic and somewhat uneven artist, who frequently uses prints for his inspiration and copies of him, with some skill, old masters, also imitating some of his contemporaries. It is possible to find his paintings in various private collections, especially Spanish, as well as in the Church of San Ginés in Madrid, in the Corpus Christi convent in Córdoba, in the Museum of Jaén, in the Prado Museum in Madrid, in the Jaén Cathedral, etc.
Date/Period: 17th Century
Materials: Oil on Canvas
Dimensions: 115 x 95 cm; 132 x 113 cm (frame)

Reserve: $2975.00

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Location: This item ships from Spain.

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Condition Report: It has damp spots and small chromatic faults. Requires restoration.