Luis TRISTAN (Toledo, 1586 - 1624) - Lot 81

Luis TRISTAN (Toledo, 1586 - 1624) Christ on the cross with portrait of a donor Canvas Height : 165 cm Width : 108 cm Bibliography: Most certainly (according to Navarette): - Angulo 1956, p.271; - Angulo- Perez Sanchez 1973, p.159-160, nos. 119 and 124; - Baticle Marinas 1981 p. 180,n°276; - Perez-Sanchez 1992, p.128; - Alfonso Emilio Pérez Sánchez, Benito Navarrete Prieto, Luis Tristán (H. 1585-1624), Madrid, Toledo, 2001 n°57 p.218. (the painting is reproduced without the donor, probably hidden by overpainting). Signed lower center "Luys tristan f." Old label on reverse Trained by Greco between 1603 and 1606, Luis Tristán was Toledo's most important painter between 1615 and his death his death in 1624. He evolved towards tenebrist naturalism during his stay in Rome from 1606 to 1612, where he was able to closer to Spanish Caravaggio painters such as Jose de Ribera, Pedro Orente and Juan Bautista Maino. From Greco, he retained the compositions, a certain elongation of the figures, and the sense of psychological portraits portraits, as our canvas shows, but in a darker range of colors, tending towards ochre and red. ochre and red. He painted the crucified man many times, in two ways: either already dead, the body abandoned, the head bent forward forward (Madrid, Prado Museum, donatión Plácido Arango Arias) or expiring, the body tense, contorted, his face raised to the sky. Of this second iconography, the large-format versions in the church of Santo Tomé and the one preserved at the Museo del Greco in Toledo (213 x 119 cm, 1624), served as the prototype for prototype for devotional works commissioned by particular patrons; ours is the only one on display, on the right, a donor at prayer. In these two large altarpieces, Christ stands out against a plain background for the first. The version closest to ours is in the Guadalajara museum, with the wooded landscape and a city on the left. city on the left. Expert: Cabinet TURQUIN - M. Stéphane PINTA