Spanish school (XVIII) - Inmaculada Concepción






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Inmaculada Concepción, an oil painting from Spain dating to the eighteenth century, sold with frame.
Description from the seller
Lot: Immaculate Conception
Author: Anonymous
Attribution: Spanish school, circle of Mateo Cerezo style
Era/Period: 17th–18th century
Technique: Oil on canvas
Dimensions: 46 × 63 cm (frame not included)
Provenance: Private collection
Condition: General cracking and wear typical of age; no recent visible interventions.
Description:
A work representative of Spanish Baroque, with an iconography of the Immaculate Conception with strong roots in Madrid painting of the 17th century. The figure of the Virgin, with an idealized face and serene expression, shows stylistic affinities with models disseminated by Mateo Cerezo, especially in the treatment of the blue mantle, the enveloping light, and the arrangement of the cherubs. The composition responds to schemes characteristic of Cerezo's circle and late Baroque devotional painting, with possible connections to later workshops or viceroyal production.
Notes:
The work presents iconographic and formal elements that allow placing it within the pictorial tradition derived from Cerezo, although its execution suggests a broader artistic environment, typical of workshops active between the late 17th and 18th centuries.
Lot: Immaculate Conception
Author: Anonymous
Attribution: Spanish school, circle of Mateo Cerezo style
Era/Period: 17th–18th century
Technique: Oil on canvas
Dimensions: 46 × 63 cm (frame not included)
Provenance: Private collection
Condition: General cracking and wear typical of age; no recent visible interventions.
Description:
A work representative of Spanish Baroque, with an iconography of the Immaculate Conception with strong roots in Madrid painting of the 17th century. The figure of the Virgin, with an idealized face and serene expression, shows stylistic affinities with models disseminated by Mateo Cerezo, especially in the treatment of the blue mantle, the enveloping light, and the arrangement of the cherubs. The composition responds to schemes characteristic of Cerezo's circle and late Baroque devotional painting, with possible connections to later workshops or viceroyal production.
Notes:
The work presents iconographic and formal elements that allow placing it within the pictorial tradition derived from Cerezo, although its execution suggests a broader artistic environment, typical of workshops active between the late 17th and 18th centuries.
