BB.AA MUSEUM. Saint Pius V, 9
The Museum of Fine Arts has renovated a small room in its permanent collection dedicated to the Spanish Baroque, preamble of the following four focused on the Valencian area. In this small space eight religious canvases coexist with two portraits. In the 17th century, The artistic production of the Spanish monarchy embraced a reformed Catholicism that placed the religious image at the center of the liturgy and the belief system., and he did it on horseback of the Italian models (naturalist and tenebrist) and flamenco (bright and dynamic). In this line we find two works by Miguel March, Saint Paul the Hermit y Saint Onofre, that copy two compositions by José de Ribera, “the Spaniard”, born in Xàtiva but who developed his entire career in the Neapolitan orbit. The copy in those times did not have the bad press of today, in your case, March demonstrated that he was aware of the most cutting-edge currents that were developing outside our borders.. The ability to faithfully copy a painting was proof of talent and a source of pride. Another example of religious painting is the Immaculate Conception of Antonio Palomino, artist from Córdoba who was in Valencia for a few years painting frescoes, among other sites, in the Basilica of the Virgin of the Forsaken. The exhibition also presents secular portraits in which two trends in portraiture of the moment coexist., the sober Caravallesque and the colorful one popularized by Rubens. One of them is Portrait of girl, where Juan Conchillos Falcó paints a three-year-old girl dressed as an adult with rich fabrics and brocades that demonstrate her status and a brooch in which Cupid appears highlighting the destiny of any aristocratic woman of the time, marriage. AU
