Juan de Sevilla Romero y Escalante

JUAN DE SEVILLA ROMERO Y ESCALANTE (Granada, 1643–1695).
“The Miracle of Saint Nicholas of Bari.”
Oil on canvas. Relined.
It features an antique frame and restorations to the painted surface.
Measurements: 110 x 85 cm; 134 x 109 cm (frame).
This painting depicts “The Miracle of Saint Nicholas of Bari,” one of the most widely known episodes in the saint’s hagiography, in which his miracle-working power is exalted through the resurrection of the three children. The composition is organized along a distinct ascending axis that contrasts the earthly realm—where the children appear in the vessel—with the glorious vision of the saint surrounded by cherubs and celestial clouds, a device that emphasizes the supernatural intervention and reinforces the devotional nature of the scene. The diagonal arrangement of the figures, the dynamism of the drapery, the ethereal atmosphere, and the use of warm light that unifies the composition are characteristic features of the pictorial language of Juan de Sevilla Romero, who developed a Baroque style marked by a strong narrative sense and great expressive intensity. His painting, designed to move the faithful and facilitate an understanding of the sacred narrative, combines restrained naturalism with a carefully balanced theatrical composition, typical of the Granada school of the second half of the 17th century. Trained alongside Francisco Alonso Argüello and Pedro de Moya, Juan de Sevilla was able to assimilate the innovative trends of the Andalusian Baroque without sacrificing a distinct artistic personality, characterized by the delicacy of the figures, rich color palette, and a serene spirituality that make this work an excellent example of his mature output.
Juan de Sevilla Romero y Escalante was initially trained in the workshop of Francisco Alonso Argüello and later in that of Pedro de Moya, assimilating from an early stage the transition from late Mannerist naturalism to the new forms of Andalusian Baroque. His career took hold in 1661, when he began collaborating with Miguel Jerónimo de Cieza on the Corpus Christi decorations, a moment from which he gained recognition within Granada’s artistic circles. His work is fully in keeping with the splendor of the 17th-century Andalusian Baroque school, characterized by the triumph of naturalism, the intensification of theatrical effect, and the use of a freer and more expressive brushstroke.