Aragonese school of the late 15th century. "The... Lot 32

Aragonese school of the late 15th century. "The Epiphany and the Ascension of Christ". Painting on panel. Exportable. With repainting. Treated xylophages. It presents lack of polychromy and lack in the wood of the frame. Measurements: 62 x 75 cm; 70 x 85 cm (frame). The panel, the execution of which may be attributed to the master of Benavarre, combines two key moments in the life of the Saviour on its front. On the one hand, the Epiphany, a passage from his early life in which the three Magi, wrapped in rich vestments, bring their gifts to the newborn child. The other theme is that of the Ascension of Christ, found in the New Testament, with the Apostles represented in varying numbers in the different works of art that depict this theme (in this case all twelve), and with the presence of the Virgin Mary. This model, in which Christ ascends to heaven alone, is already to be found in 11th-century examples and was the most common in Western art, being to some extent eclipsed by that of the Ascension of the Virgin in the 17th and 18th centuries. Formally the panel can be related to the Aragonese school, and more specifically to the workmanship and mastery of Pedro García de Benavarre, a painter of late Gothic origin, possibly of Aragonese origin, as he is documented in Zaragoza in 1445. Four years later he was commissioned to paint an altarpiece for the Villar. It is believed that between 1452 and 1455 he lived in Benavarre (Huesca), and that during this time he made trips to Lérida, Huesca and Barcelona. In 1455 he signed a contract with the widow and son of the painter Bernat Martorell to continue the work in Martorell's workshop for five years. From 1463 onwards he is again documented in Benavarre, from where he sent works to various neighbouring towns. He enjoyed a good economic position and was assisted by numerous collaborators and disciples. It seems that, in the last years of his life (from 1481 at the latest), he lived in Barbastro. One of his most characteristic works is the Bellcaire panel (Museo Nacional de Arte de Cataluña), dated and signed by him. Benavarre's style, as on this occasion, is characterised by the sculptural appearance of the figures, studied clothing and the sobriety and beauty of the human features. In Lérida he had the master of Viella as a disciple, and his influence extended to the Aragonese circle, where Jaume Huguet had already worked. He also collaborated with Juan de la Abadía. Other important works include the altarpieces of Sant Quirze and Santa Julita (Diocesan Museum of Barcelona), of Santa Clara and Santa Caterina (Barcelona Cathedral), of the Mother of God and Saint Vincent Ferrer (Cervera), of the Mother of God of Bellcaire (National Art Museum of Catalonia) and of Saint John the Baptist (same museum). In the Aragonese school of the late 15th-early 16th century, the Italian influence first arrived in its primitive form, with the works of the Quattrocento, and soon gave way to contemporary Mannerist influences. This century saw the transition between the Flemish-influenced language and the new Italianate style, which left behind the rich and detailed sense of the Hispano-Flemish language. However, this arrival of new styles was not uniform throughout Spain; on the Mediterranean coast these influences arrived earlier thanks to the links between the Crown of Aragon and Italy. On the other hand, in Castile and the interior of the Peninsula, the Flemish and late Gothic influences survived, largely encouraged by the Catholic Monarchs and by a clientele still attached to the old forms.