Virgin of the Immaculate Conception
Statuette
ca. 1630 - ca. 1650 (made)
ca. 1630 - ca. 1650 (made)
| Artist/Maker | |
| Place of origin |
This lead figure is based on the work of the Seville sculptor Juan Martínez Montañés (1568-1649). One of his polychromed wood versions of the same subject dating from about 1633 is on an altarpiece in the Church of Santa Clara, Seville.
Montañés was a Spanish sculptor trained in Seville, but also spent some time in Granada, probably working under Pablo de Rojas in about 1579. Popularly known as 'el dios de la madera' (the god of wood), he executed wood sculpture which is remarkable for its technical brillance. He also perfected a number of iconographical types which became seminal images.
Lead has bean mined in the area of Seville since Roman times; the tradition of lead sculpture in Seville along with other stylistic comparisons imply that the piece must have been made in the city.
The downward glance and the lack of finish on the top of the head indicate that this piece was intended to be seen from a low viewpoint.
Montañés was a Spanish sculptor trained in Seville, but also spent some time in Granada, probably working under Pablo de Rojas in about 1579. Popularly known as 'el dios de la madera' (the god of wood), he executed wood sculpture which is remarkable for its technical brillance. He also perfected a number of iconographical types which became seminal images.
Lead has bean mined in the area of Seville since Roman times; the tradition of lead sculpture in Seville along with other stylistic comparisons imply that the piece must have been made in the city.
The downward glance and the lack of finish on the top of the head indicate that this piece was intended to be seen from a low viewpoint.
Object details
| Categories | |
| Object type | |
| Title | Virgin of the Immaculate Conception (generic title) |
| Materials and techniques | Painted lead |
| Brief description | Statuette, painted lead, Virgin of the Immaculate Conception, after Juan Martínez Montañés, Spanish (Seville), ca. 1630-50 |
| Physical description | The Virgin stands with her hands clasped, looking downwards. She rests her right leg, stepping forward with her left. She wears a high-waisted robe under a cloak, whose edges are punched with a simple design. Two cherubim would originally have formed a support for her; these are now partly hidden through having been dented inwards. The tips of the crescent moon are visible on the base. |
| Dimensions |
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| Object history | Given by Dr. W. L. Hildburgh, F. S. A., 1956. Historical significance: The figure is based on the work of the Seville sculptor Montañés. One of his polychromed wood versions of the same subject dating from about 1633 is on an altarpiece in the Church of Santa Clara, Seville. |
| Historical context | The downward glance and the lack of finish on the top of the head indicate that this piece was intended to be seen from a low viewpoint. |
| Summary | This lead figure is based on the work of the Seville sculptor Juan Martínez Montañés (1568-1649). One of his polychromed wood versions of the same subject dating from about 1633 is on an altarpiece in the Church of Santa Clara, Seville. Montañés was a Spanish sculptor trained in Seville, but also spent some time in Granada, probably working under Pablo de Rojas in about 1579. Popularly known as 'el dios de la madera' (the god of wood), he executed wood sculpture which is remarkable for its technical brillance. He also perfected a number of iconographical types which became seminal images. Lead has bean mined in the area of Seville since Roman times; the tradition of lead sculpture in Seville along with other stylistic comparisons imply that the piece must have been made in the city. The downward glance and the lack of finish on the top of the head indicate that this piece was intended to be seen from a low viewpoint. |
| Bibliographic reference | Trusted, Marjorie. Spanish Sculpture. Catalogue of the Post-Medieval Spanish Sculpture in Wood, Terracotta, Alabaster, Marble, Stone, Lead and Jet in the Victoria and Albert Museum, London, 1996, pp. 89-90, cat. no. 37 |
| Collection | |
| Accession number | A.48-1956 |
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| Record created | June 24, 2009 |
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