Spanish or Italian school; first half of the 18th century.

Spanish or Italian school; first half of the 18th century.
"St. Anthony of Padua with Child".
Carved wood, polychrome and vitreous paste eyes.
It presents damages caused by xylophagous.
Measurements: 163 x 65 x 53 cm.
Sculpture made of carved and polychrome wood, with application of vitreous paste eyes representing St. Anthony with the Child. The piece is an outstanding example of the baroque devotional imagery of the Spanish or Italian School of the first half of the 18th century. The work stands out for its remarkable technical quality, both in the sculptural treatment of the volumes and in the richness and precision of the polychrome, which gives it an expressive force of deep emotional and spiritual intensity.
Saint Anthony is represented in a contemplative attitude, holding the Child Jesus in his arms, in a composition of great sweetness and contained dynamism. The face of the saint, of serene and deeply idealized features, reflects a state of ecstatic recollection, intensified by the eyes of vitreous paste, which contribute a singular vivacity to the look. The Child, on the other hand, is presented with a delicately childlike expression, modeled with softness in the anatomical planes, which accentuates his corporeality and his human-divine character.
The treatment of the carving shows a refined mastery of technique: the folds of the Franciscan habit, with their fluid and naturalistic rhythm, are resolved with great tactile sensitivity, revealing a profound knowledge of textile behavior and a restrained but effective ornamental taste. The polychromy, applied with mastery, combines earthy, golden and carmine tones that underline the sacred character of the scene without renouncing a close and tangible dimension.
Works like this, made with a clear devotional purpose, respond to the Baroque ideal of moving the faithful through the image, serving not only as an object of worship but also as a vehicle for mystical contemplation. The combination of naturalistic and supernatural elements, together with the technical virtuosity of the sculptor, make this piece an eloquent testimony of the artistic splendor achieved by religious sculpture in the Mediterranean area during the first third of the 18th century.