There are issues that are repeated in the painting of Mateo Cerezo the young (Burgos, 1637-Madrid, 1666), although always treated from different perspectives. One of them is that of the Immaculate Conception, on which the Burgos artist created a dozen versions distinguishing himself by his originality among the contemporary painters of the school of Madrid. One of those paintings to him attributed, where the intense sense of color is appreciated, auction is auctioned this Thursday in Barcelona.
The work in question is an oil on fabric in which the position and position of the Virgin stands out, kneeling on a base of angels and turned to the right. That differentiated him from his teacher, Carreño de Miranda, and other artists of the time, who painted them in frontal position, for example. The wife of Mateo Cerezo “moves in a lateral sense and occupies the entire diagonal of the canvas,” as it points out about this type of works Ismael Gutiérrez Pastor in the book that was published following the exhibition with his painting that welcomed the cathedral of Burgos in 2020.
The La Suite Austs Gallery puts this conceptionist version within Lot 39 of the Fund that it calls for sale Vanitas, parables and devotionsand for which it can be struck on Thursday from 7 pm. The estimated price of the box is, according to the experts of the auction house, between 6,000 and 9,000 euros.
With measures of 146 x 103 centimeters, in this work the Virgin has won in roundness in front of other Immaculate Matthew Cerez. It also carries double crown: the radial and that of stars, and a halo emerges from its entire figure, exploding on the companions until it fades in the sky. “They are also observed – they apply from the gallery – a loose brushstroke and the use of the tip of the brush to give small touches, with pigmentations applied as very visible twilights on its robe.”
In this type of works the Virgin moves in lateral sense and occupies the diagonal of the canvas
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In this case, the son of the painter Mateo Cerezo the old man created an lush virgin in his figure and in the clothes, and the one he represented with two Marian symbols: Azucenas and the dove that represents the Holy Spirit.
The representation of the Virgin Mary under the invocation of the Immaculate Conception was lavished at that time since it coincides with the fact that on December 8, 1661 Pope Alexander VII promulgated the Apostolic Constitution Sollicitudo omnium ecclesiarum by which the religious cult was authorized for the first time in 1854).
Mateo Cerezo, from which several paintings are preserved in the Burgos Museum, was an important Spanish painter, born in a family of artists and became part of the Carreño de Miranda workshop when he was barely fifteen years old, becoming one of his best collaborators.
This formation “deeply marked the style of the young cherry tree in the double flamenco-venecian direction, so fashionable at that time,” as Álvaro Piedra reports for the Royal Academy of History. He became a short time, continues stone, “in one of the brightest and revealing painters of our entire baroque, spoiling, however, when he died at twenty -nine years in full youth.”
