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Landscapes, Xalapa, Mexico, Pair of Oils on Canvas, Spanish School, Ca 1840

About the Item

Landscapes, Xalapa, Mexico. Pair of oils on canvas. Spanish school, around 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. Couple of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both evidence the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see compositions in "V", closed on the sides and open in the center, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. In addition, the skies are scenographic and dramatic, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted the pure landscape, almost figureless or totally devoid of them, to achieve the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. In other words, the landscape should arouse emotion and transmit ideas. Thus, landscapers like the author of these canvases tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic one, with turbulent and fantastic views, and the naturalistic one, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the author's own use of light here conveys a foggy, cloudy, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is constituted, however, by manifestations of very different types and not comparable to each other; it does not affect all national schools equally, staying more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the steep mountains or the monumental Gothic ruins. On the contrary, it is a flat landscape, very horizontal despite the vertical elements that close the sides in the foreground, endowed with a soft dynamism determined by the hills and the shifting clouds. The most typical elements of the romantic landscape do not appear, such as the hostile climate or the Gothic ruin, although the clear separation between the foreground and the background does, which enhances the scenographic character derived from the dramatic lighting. Likewise, the typical very marked romantic perspective is used, in the abyss, which is complemented by a slight confusion of points of view. Thus, the pompous perspectives of the 18th century veduta are applied here to a sober landscape, which nuances the scenographic construction of the landscape, so typically romantic. Despite these local differences, this romanticism contained in the form, however, we find a purely poetic content, which goes beyond the simple representation of nature to capture nature as a reflection of the author's feeling, melancholic and dark, enormously lonely. . · Size: 66 x 80 cm; 74 x 87,5 cm (marco). Depth is merely orientative. International Buyers – Please Note: for those articles that need Export Permits (those older than 100 years), the obtaining of the Permit will be processed without additional expenses (if you choose the seller sends it to you), but the period for the obtention of it may vary from 10 to 35 days.

Dimensions:

Height: 34.45 in (87.5 cm)Width: 29.14 in (74 cm)Depth: 1.58 in (4 cm)

Sold As:

Set of 2

Style:

Neoclassical Revival (Of the Period)

Materials and Techniques:

Canvas,Other

Place of Origin:

South America

Period:

Mid-19th Century