Spanish school of the 15th-16th century.
"Virgin.
Polychrome wood.
It presents damages caused by xylophages, lack of polychromy and loss of the arms.
Measurements: 45 x 16 x 12 cm.
This work represents the Virgin Mary in a human and simple way, avoiding the theatricality of iconographies such as that of the Immaculate Conception, seeking closeness to the faithful. The artist makes the most of the intrinsic beauty of the material itself, to which he adds a gilded finish. Formally, this work is part of the early Baroque period; the composition and carving are naturalistic and moving, but it does not yet have the open dynamism, furrowed with diagonals, or the theatricality of the full Baroque.
In contrast to the rest of Europe, which lived under a strong absolutist political system, the Portuguese Baroque did not begin in 1600. At this time, Portugal was in a deep political, economic and social identity crisis, caused mainly by the loss of the throne of Philip II of Spain. The nobility abandoned the cities, settling in the countryside and taking small courts with them, in an attempt to preserve the Portuguese socio-cultural identity. Portugal was also going through a major economic crisis as a result of the loss of Brazil to the Dutch. Therefore, the situation did not improve until the end of the 17th century, and it was not until then that large-scale projects, mainly architectural, were undertaken. However, in the field of sculpture, activity continued throughout the century, as the demand for religious images did not disappear at any time. Stylistically, however, sculptors still maintained close ties with Spain. Thus, as we can see here, wood continued to be used as the main support for religious images, which had the additional advantage of being a cheap material within the reach of almost any artist. While contemporary Spanish sacred imagery is rich in gilding and estofados, Portuguese religious imagery is characterised by a more naturalistic polychromy, less scenographic than that of Spain.