Flemish school of the mid-15th century.

Flemish school of the mid-fifteenth century.
"Saint John.
In alabaster.
Work published in "Alabaster through time. Jaime Trigo Collection", ref. 159.
Possibly it was part of a foot of an altar.
Measurements: 32 x 15 x 7 cm.

This sculpture of St. John is a work of singular distinction within the late medieval devotional repertoire. Carved in alabaster with outstanding delicacy, this figure reveals a profound understanding of the idealized anatomy and spiritual sensitivity that characterized Flemish art of its time.

The saint is presented to us standing, dressed in a long tunic whose folds fall with restrained naturalism, describing soft undulations that accentuate the slight flexion of the right leg. These draperies, resolved with remarkable technical virtuosity, surround the knee joint with verisimilitude, giving the whole a subtle but eloquent internal rhythm. Under the tunic, bare feet appear, symbol of humility and dedication.

With his right hand, St. John touches his chest in a gesture of recollection, while with the gesture of the open left palm he slightly separates the cloak from the body. This action introduces a subtle asymmetry in the composition, which reinforces the vivacity and grace of the figure. Particularly notable is the differentiated treatment of the alabaster, where the cape presents a somewhat warmer or neutral tonality as opposed to the faint greenish hue of the tunic, suggesting an intentional use of the natural color of the material to enrich the visual perception.

The face, small and serene, obeys an aesthetic ideal of transition between Gothic and Renaissance. The softly modeled features and the half-open mouth denote arrogance. The head, turned to the right and upward, imprints a slight twist and emphasizes the visionary character of the character. The hair, treated with refinement, falls in soft waves that frame the face without distracting from the introspective intensity of the gaze.

The hands, of fine and elongated proportions, summarize the elegance of the sculpture. Everything about it-the stylized canon, the restrained gestures, the quality of the stonework-recalls an aesthetic sensibility in which the classical is filtered through the spiritual prism of Flemish Gothic, heralding the shift towards the Renaissance.

It is likely that this work was part of a larger ensemble, perhaps a foot of the altar, whose liturgical function is sublimated by the sculptural quality of this devotional figure.