Following models by CORNELIS SCHUT

Flemish school of the mid-17th century. Following models by CORNELIS SCHUT (1597-1655).
"The Assumption of the Virgin.
Oil on copper.
Size: 76,5 x 59 cm; 98 x 79 cm (frame).
This majestic panel shows the Assumption of the Virgin, carried body and soul to Heaven in a triumphal and scenographic manner. Behind her is the Glory, represented by the golden divine light, an elaborate break in the margins of which we see a multitude of angels in different positions, some looking down to earth and others upwards. On the earthly plane, clearly differentiated from the heavenly, the figures are grouped around the Virgin's open tomb. They are the apostles who, having witnessed Mary's death, marvel at her Assumption. Some of them are depicted with their backs to the tomb, closing a circular composition defined around the tomb, classical and orderly despite the apparent crowding of the figures in favour of the theatricality and, above all, the dynamism of the scene. Most of the figures are shown looking up towards the sky, with their hands raised in surprise as well as veneration, a skilful aspect of the narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her. Formally, the work literally follows the same composition by Cornelis Schut (1597-1655). Cornelis Schut was a highly valued painter in his day. He was one of Rubens' (1577-1640) most noted collaborators and was particularly significant in the development of Baroque painting in the Antwerp school. His art was enriched by his stay in Italy (1624-1627), from where he learned compositional, chromatic and expressive dramatism. He was very prolific in all artistic disciplines, and was particularly noted for his engravings. Sanzsalazar, a great connoisseur of Flemish and Dutch Baroque painting, states that in the church of Our Lady of Jesus-Eik in Overijse there is a large altar canvas with the same representation of the Assumption of the Virgin Mary, the author of which was unknown and which she now identifies as Cornelis Schut. This is the source of the present work, which enables the comparison to be made.