Andalusian school; mid 19th century.

Andalusian school; mid-19th century.
"Saint Joseph with Child".
Oil on canvas.
The original canvas is preserved.
It has a period frame.
Measurements: 42 x 25,5 cm; 55 x 38 cm (frame).
The work shows St. Joseph, standing with the Child holding and leaning on his lap, in a family scene full of tenderness typical of the Andalusian school. Until the Counter-Reformation, the figure of St Joseph was usually relegated to the background, as he was not accorded any theological importance. However, after Trent, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.
The work can be related to Andalusian painting in the mid-17th century, which was strongly influenced by Murillo. Having become the leading painter in the city, surpassing even Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now to be found in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London, among many others.
The work can be related to Andalusian painting of the mid-17th century, which was greatly influenced by Murillo. Having become the leading painter in the city, surpassing even Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now housed in the world's most important art galleries, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London, among many others.