Spanish neoclassical school; early 19th century.... Lot n° 39

Spanish neoclassical school; early 19th century. "Saint Joseph". Carved wood, polychrome and vitreous paste eyes. It presents faults in the carving and saints in the polychrome. Loss of the Baby Jesus. Measurements: 101 x 55 x 43 cm. On a rectangular base, the image of St. Joseph is placed. Bearded, holding a mantle and raising the other hand to half height, he looks down, slightly tilting his head. This type of carvings were very common since the 18th century, following in part the influence of Rococo in the movement of the cloths, but also showing a relationship with Neoclassicism as far as the figure is concerned, mainly, and maintaining some of the Spanish Baroque tradition (iconography, material). Until the Counter-Reformation, the most common thing was that the figure of St. Joseph remained in the background, since he was not given any theological importance. However, after Trent, his protagonist role as Jesus' protector during his childhood, as a guide during his youth, was recovered, and as such he is represented here. In contrast to the tenderness, defenselessness and candor of the infant figure, St. Joseph is presented as a monumental character, typically baroque, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually enhances the decisive role as protector of the putative father of Jesus. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish sculpture of this period, which in the first decades of the century began with a priority interest in capturing the natural, to progressively intensify throughout the century the expression of expressive values, which is achieved through the movement and variety of gestures, the use of light resources and the representation of moods and feelings.