Sevillian school of the XVII century.

Sevillian school of the seventeenth century.
"The Sacrifice of Balaam".
Oil on canvas.
Relined.
Measurements: 50 x 140 cm; 64 x 153 cm (frame).

This painting of Sevillian school uses all the resources of the baroque language to transmit a message on the primacy of the divine power on the power of the kings and the providence that guides the destiny of the towns.

The scene represented is The Sacrifice of Balaam, an episode narrated in the Old Testament, specifically in the Book of Numbers. The story tells how Balak, king of Moab (the standing figure, dressed in red and wearing a turban), fearful of the advance of the people of Israel, summons the prophet Balaam (the kneeling figure) to curse the Israelites in exchange for riches. In the painting, we see the moment when Balaam, pressured by the king, prepares to make a sacrifice on an altar to curse the people in the distance. However, an angel sent by God intervenes to stop him, ordering Balaam to pronounce a blessing on Israel instead of a curse.

This painting is a magnificent example of the Sevillian school of the 17th century, an artistic focus of immense importance during the Spanish Golden Age. The work encapsulates the stylistic and thematic characteristics of its time and place.

The composition is clearly divided into two parts, united by a deep, atmospheric landscape. On the right, the dramatic core of the story is concentrated. King Balak, upright and with a gesture of insistence, represents earthly power. His red robe and turban give him an exotic and authoritative air. At his feet, the prophet Balaam kneels in an act of submission, not to the king, but to the heavenly vision. His face shows confusion and submission to the divine will. Above them, the angel bursts into the scene in a dynamic diagonal, carrying a censer that symbolizes the sacredness of the moment. He is the divine messenger who stops human action and changes the course of events.

To the left, the composition opens onto a vast landscape. In the distance, human groups sleeping can be distinguished. They are the Israelites, the object of the dispute. The presence of a bridge and a tower adds depth and a scenographic context to the narrative.

The work exhibits the distinctive features of Sevillian baroque, such as the moderate use of chiaroscuro. Intense light models the main figures, wrapped in lustrous robes and cloths. Despite the supernatural theme, the figures are treated with realism. The anatomy, the textures of the fabrics (especially the brightness of Balaam's tunic) and, above all, the expressiveness of the faces and gestures are taken care of, seeking to move the viewer.

The palette is based on earthy and ochre colors, characteristic of Spanish painting of the time. On this sober base, touches of vibrant color stand out, such as the intense red of Balac's cloak, which attracts the eye and underlines the importance of the character.