Master of Leon; possibly MASTER OF PALANQUINOS... Lot n° 111

Master of Leon; possibly MASTER OF PALANQUINOS (active, 1470-1500). "Virgin and Child. Oil and gilding on panel. Chipped and consolidated. It presents repainting, losses and faults on the pictorial surface. Measurements: 184 x 107 cm. In a dark background that represents the immensity, there is a break of golden glory whose ends seem to symbolise the rays of the sun. In the interior of this golden border rests the upright figure of the Virgin, with the Child cradled in her arms. The child looks directly at his mother and leans tenderly against her breast, while Mary slightly lowers her gaze, although she does not seem to be looking directly at Jesus, but at a more distant point, so that she seems to be concentrating on something, perhaps on the future that awaits her son. Despite the sobriety of the ornamental elements, leaving all the attention to the image of Jesus and his Mother, it should be noted that the artist shows great richness in both technique and ornamentation, especially in the way the sacred haloes of both figures and the Virgin's clothing. The Virgin is depicted in a deep blue tunic, dotted with stars, a celestial symbol representing the universality of the Christian religion. In the case of the dress, the ornamentation presents a much more complex aesthetic pattern based on a gold-coloured floral print set against the red of the fabric. The great richness shown by the Virgin also extends to the jewels she wears around her neck and the large crown that identifies her as Queen of Heaven. During the 15th century, the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. This change also affected the Hispano-Flemish school, which also had independent channels for the penetration of the Italian style. Influences mainly came to Spain from Raphael and his followers, through engravings, oil paintings and painters who travelled between the two countries. Not much is known about the Master of Palanquinos. Gómez Moreno and Post wrote about him and attributed various works to him around Valladolid, Burgos, León and Palencia, until González Santos (AEA, 284), in 1998, identified Pedro de Mayorga as the Master of Astorga, extending his sphere of action to Oviedo. With a Hispano-Flemish style, the Maestro de Palanquinos enjoyed great importance in the diocesan sphere. The Flemish influence is evident in his landscape backgrounds and in the detail and care of his textiles, but his effort of expression must have come more from Pedro de Berruguete or, more probably, from Fernando Gallego. He is an artist with a personal style, whose figures with elongated anatomies and angular features have a mystical and profound character.