OIL ON COPPER. \'THE VIRGIN\'S ASCENSION\'. CIRCLE FRANS VAN DE KASTEELE

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). “Virgin with angels and saints.” Oil on copper. Curled ebony frame. This painting is devotional in nature, judging by its small format, its subject matter and also by the fact that it is an oil painting on copper. For this reason, it was probably conceived for a private altar or chapel. It presents a large central break in Glory, delimited by clusters of clouds between which cherub heads appear, with the figure of the Virgin Mary in the centre, carried by child angels. She is wearing a tunic of an intense pink tone, with a violet gown underneath, of which we can only see the sleeves, a blue cloak (symbol of truth and eternity) and a white veil over her head, alluding to the concept of purity. Mary appears in a rotating, dynamic and typically baroque position, and shows one hand extended towards the ground plane, another on her chest and her head slightly turned, with her eyes directed towards the sky. At his feet, four figures in a landscape setting closed on both sides and open in depth in the centre (in the distance we see a city, shrouded in mist and blue from the distance), a balanced, symmetrical and orderly composition typical of classicist Baroque. This is the representation of Saint James the Greater, Saint John, Saint Francis and Saint Maurice, from left to right. They are all represented in large size, with special attention paid to their anatomies and clothing, worked in typically Baroque chiaroscuro folds. Saint James wears a cloak adorned with a scallop shell on his shoulder, and carries a pilgrim's staff and hat. Saint John wears the sheepskin typical of his iconography, a red cloak alluding to his passion, and carries the cruciform banner and his Gospel in his hand. At his feet, the lamb that usually accompanies him in plastic representations, a symbol of Christ and his sacrifice. On the right-hand side we see St. Francis in a brown habit tied with the Franciscan cord, looking up at Mary and crossing his hands over his chest, showing his stigmata and carrying a wooden crucifix. Finally, at his side we see St. Maurice, in a breastplate and cloak, carrying the palm of martyrdom. The blue and pink tones of his attire are in keeping with the colours of the Virgin's clothes, as is the violet cloak of St. James, a resource through which the painter balances the composition, unifying both planes, and establishes a typically classical, balanced and symmetrical pyramidal structure. Due to its formal characteristics, this work can be linked to the influence of Frans Van de Kasteele, known as Francesco da Castello, a Flemish painter who settled in Rome during the pontificate of Gregory XIII (1572-85). He is documented as a member of the Academy of St. Luke in 1577, and was appointed consul in 1588. To this day, we know nothing of his training in the Netherlands or of his first works. In a private collection in Vienna there is a miniature on parchment signed by the artist and dated 1584, an adoration of the Magi. There is also a contract from 1588 in which he was commissioned to make six paintings on canvas and five miniatures on copper on religious themes. Although settled in Rome, Kasteele always maintained relations with the Netherlands, especially with the humanists Philips van Winghe, Abraham Ortelius and Henricus Corvinus. In Rome he was respected and recognised, a member of the Pantheon of the Academy of the Virtuosi as well as that of St. Luke. Although he also worked as an easel painter, he was mainly the author of small-format works, illuminations and miniatures. Many of his works were sent to Spain, which is why he had many followers in our country.

· Size: 33x3x40 cms. int. 24x32 cms