Attributed to Francisco Antolínez

Sevillian school of the seventeenth century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700).
"The Death of the Virgin".
Oil on canvas.
Measurements: 64 x 85 cm; 76 x 96 cm (frame).

The religious painting of Francisco Antolínez is one of the most unique of the Spanish Baroque, especially for its ability to hybridize genres. Although he was trained in the Sevillian school (he was a disciple of Murillo), he developed a very personal style that moves away from the traditional monumentality to approach what today we would call "cabinet painting". On this occasion he offers us the biblical passage of the death of the Virgin: according to tradition, an angel appears to Mary to announce her imminent departure. The Virgin's wish is to see the Apostles before she dies. In a miraculous way, the Apostles, who were scattered preaching throughout the world, are transported in clouds to their home in Jerusalem or Ephesus.

Brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in many different subjects. He was thus introduced to the practice of painting, obtaining success with small format works generally starring small figures on a background of landscape or architecture. Ceán Bermúdez noted that after studying law in Seville, he learned painting at Murillo's school, attending the academy established in the Casa Lonja of the same city, where he was recorded in 1672. That same year he must have moved to Madrid to meet with José Antolínez, although it is probable that after his death he returned to his native city for some time. He finally settled definitively in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, since he preferred to present himself as a lawyer. Antolínez shows himself to be heir to the Flemish style of Ignacio de Iriarte in his landscapes, and in the architectural backgrounds of Matías de Torres. Regarding his figures, they denote a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum of Ciudad Real, the Episcopal Palace of Huesca, the parish of Santa Ana de Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centers, public and private collections.