A possible paternity for the table of the Holy Family of the convent of San Vitores (Burgos) ; Una posible paternidad para la tabla de la Sagrada Familia del convento de San Vitores (Burgos)

In the Museum of the Altarpiece (Burgos) you can find an anonymous work from the end of the 16th century in which the Holy Family is represented with Saint John. In the following pages we will try to raise a supposed paternity for the Table of the Holy family, linking it to the works within the circle of a Flemish Master. Also, in a parallel way, put it in relation to other paintings with which it bears formal similarities, mainly in regard to the use of an Andalusi textile design (14th-15th centuries) characterized by an ornamental band with knotted Kufic writing. ; En el Museo del Retablo (B... Mehr ...

Verfasser: Moreno Coll, Araceli
Dokumenttyp: Artikel
Erscheinungsdatum: 2023
Verlag/Hrsg.: Universidad de Oviedo
Schlagwörter: Holy Family / Flemish painting / Andalusi textile / 16th century / Kufic writing / Sagrada Familia / pintura flamenca / tejido andalusí / siglo XVI / escritura cúfica
Sprache: Spanish
Permalink: https://search.fid-benelux.de/Record/base-28656698
Datenquelle: BASE; Originalkatalog
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Link(s) : https://reunido.uniovi.es/index.php/RAHA/article/view/18206

In the Museum of the Altarpiece (Burgos) you can find an anonymous work from the end of the 16th century in which the Holy Family is represented with Saint John. In the following pages we will try to raise a supposed paternity for the Table of the Holy family, linking it to the works within the circle of a Flemish Master. Also, in a parallel way, put it in relation to other paintings with which it bears formal similarities, mainly in regard to the use of an Andalusi textile design (14th-15th centuries) characterized by an ornamental band with knotted Kufic writing. ; En el Museo del Retablo (Burgos) se encuentra una obra anónima de finales del siglo XVI en la que se representa a la Sagrada Familia con san Juanito. En las siguientes páginas trataremos de plantear una supuesta paternidad, vinculándola al trabajo del círculo de un maestro flamenco. Además, de modo paralelo, ponerla en relación con otras obras con las que guarda similitudes formales, principalmente en lo referente al uso de un diseño textil andalusí (siglos XIV-XV) caracterizado por una franja ornamental con escritura en cúfico anudado.