Mucinex And An Erection

The transition from Magdalena, Jose Antolínez

Antolínez was José Xavier de Salas writes 1 - " short-lived man, born in Madrid for two in November 1635, died on May 2, 1675 ." His father, Juan Antolin, poor gentleman, for those who had to stay on the court with the work of his hands, was a carpenter of chests and coffins. Joseph began his training as a painter in the workshop of a modest shop painter, Julián González de Benavides, whose daughter is married and completed by attending probably the school of Francisco Rizi, painter of the King. Palomino, the Cordovan scholar painter, considered one of the greatest painters of his time and tells him that he was vain and haughty character, telling about several anecdotes (some collected by Cean) testimony of their relationship, not just good with other painters peers. Antolínez was fond of fencing and it seems it was precisely a result of an adjustment to the sword, which came out unfavorably, "which was struck a very malignant fever" in a few days killed him at forty years of age .

What most interests us is not so much Antolínez his life and his art, developed over only fifteen years. Great cultivator passes for religious art. Gained fame as the most important painter conceptionist the Madrid school.

are over twenty of the Immaculate outputs of their brushes are kept, number only matched by Murillo. The Immaculate Conception from Antolínez, elegant and courtly air, is distinguished by its flexibility to be characteristic of his representation, his cloak, " that inflation is stirred by the wind around the body showing, often in the foreground, silhouetted edges on the shadow of his bulky studs " 3 , detailed treatment of the crown of twelve stars, the inclusion of the dove of the Holy Spirit, pensive face of the Virgin appears with folded hands and forming the angels stand nlños and often obscure the globe to which it supports your feet.

cultivated evangelical Antolínez other issues such as the Annunciation, the Nativity and Holy Family, apart from the Magdalena, which motivates this "illustrated postcard, but it was also a great portrait and low tables reveal their gender. Among them are two that deserve to be highlighted, giving the fact that being in foreign museums are too well known to the English public. I refer to the graduates' poor Painter "(Alte Pinakothek Munich.) and "Portrait of Ambassador Cornelius Lerche Pedersen" Museum of Copenhagen.

" The poor painter," also called "frame Corridor" is, according to Xavier de Salas, "a creation more Antolínez important not only but the whole school after Velázquez Madrid. " Although not entirely clear why, seems to represent a ragged peddler of devotional paintings that goes to the buyer (the viewer) in order to sell one painting from a workshop that overlooks a young painter in which some have believed to see the portrait of Antolínez.

The other painting, a portrait of the Danish ambassador in Madrid, Cornelius Lerche Pedersen, dated 1662, is a rare example of a typical group portrait of the Dutch school, of that in Spain there are very few samples. In this picture, the character is surrounded diplomat, collaborators, friends and family, including, perhaps, portrayed the painter. There I found online a color image of this painting, so that included an old photograph in black and white.


live Eager to learn Antolínez painting I head to the Museo del Prado on this spring morning. At the museum, apart from the usual tourists, wake my attention to groups of children, infants, four or five years, at most, that, hand in hand in neat rows roam the halls, led by their teachers . Some are forming a circle sitting in front of serving tables and not to games invented by the monitors. It's nice to see them so applied and obedient, with the grace and spontaneity of childhood

According to the tab of the online encyclopedia, is preserved in the Museo del Prado Antolínez six works (the maid to whom I asked about the location I have been told works, after an internal telephone consultation, which are fourteen, but I find a factual error): namely, three Immaculate, two portraits of girls, which came to be attributed to Velázquez, and Magdalene, the most prized of all his works. Except the latter, there is no other exposed, which is regrettable.

" The transition from Magdalena " of Antolínez is currently in the courtroom 16A, which sets out a selection of baroque paintings of religious court, some in large format. Here we look at leisure, not many visitors in the room, different trends of Baroque painting, the "brown and detailed invoice " de Pereda, the " chromatic delicacy" of Rizi, the "taste composition by Claudio Coello, the" formal containment "of Cabezalero or" expression "de Valdés Leal. Of all the works, I'll stick with " The Triumph of St. Augustine " the best of baroque Claudio Coello and a small and delicate " Annunciation" by Francisco Rizi, maybe paint the attic of a altarpiece.

I stop finally to the painting of Mary Magdalene. This was a very interpreted plea Spain in the Baroque period, due to the intensification of the cult of the holy penitent after the Council of Trent. As is known, the protesters denied the value of the sacraments, among them the penance and, counter, the Church of Rome, sought to highlight the example of the sinful woman of Magdala, which, sorry, reach holiness, making represent either in the moment of ecstasy, when it is taken away to heaven by angels musicians, or at an earlier stage of abduction, doing penance.

Antolínez Magdalene represented four times: one of his paintings is in the Museo de Bellas Artes de Sevilla (donated by the Marquise de Larios), another in Santamarca the Augustinian College Foundation in Madrid, another at the Palace of Peles in Sinani (Romania) and the fourth one we have in this room of the Museo del Prado, before our eyes.


The scene represents the moment when, according to Peter Golden Legend of the Maelstrom, is elevated by the holy angels to heaven to attend services as a heavenly reward for his solitary life devoted to penance and meditation. Look at the expression of the holy penitent, transported to heaven, where the initial surprise has given way to the mystical rapture in her divine music produced (provided string music in Baroque painting) .

is a work of exceptional quality, which enhances Antolínez skills as a colorist, dominated violet tones, mauve and pink stand out against the blue sky. Belongs to the late artist's production where evidence typical of the baroque taste for the dynamism and expressiveness.

Antolínez painter was subtle and vibrant art whose work is influenced from the earlier masters of Velázquez is undeniable "The poor painter, and also the Flemish and Venetian of his time, including Rubens, Van Dyck and Titian.

El Museo del Prado, which has held exhibitions devoted to little-known teachers of the general public as dedicated to Maine last year and now offers the curious visitor a selection of works by a young Ribera (I have not yet seen) would do well perhaps in the coming years is scheduled for a monograph of Joseph Antolínez One of the most interesting personalities of the seventeenth century English painting, which today, "illustrated postcard, offers fans of this blog.

© Manuel Martínez Bargueño
May 2011

If you have interested in this entry and want to ask, comment or contribute something about it can leave a comment or write me email manuelblas222@gmail.com with confidence be promptly addressed.

Spread among your friends this blog.

Thanks.
Manuelblas

NOTES

1. Xavier Salas. "Museo del Prado " . Volume II. " Velázquez and XVII century painting." Orgaz editions. 1978, p. 42.

2. Baptized on November 7, 1635 in the church of San Justo y Pastor.

3. Diego Angulo Iniguez. "José Antolínez ." Diego Velazquez Institute of National Research Council. Madrid. 1957, pg. 16.