After Ignazio De Ríes, 1650, Oil on Canvas, Framed

Details

Description

Ignacio de ríes (seville, 1612 - seville, 1661) attributed

king david playing the harp

oil on canvas
137 x 102 … Read more Ignacio de ríes (seville, 1612 - seville, 1661) attributed

king david playing the harp

oil on canvas
137 x 102 cm - framed 150 x 112 cm.


at the center of the canvas stands the majestic figure of one of the great biblical figures, king david, in a moment of intimate devotion: his expert fingers gracefully pluck the strings of a harp, the instrument he used to sing the praises of the lord, allowing us to imagine the notes floating in the air.

his gaze is directed upward as if drawing inspiration directly from the celestial spheres: according to tradition, with this instrument the king not only delighted his court, but also had the mystical power to banish tormented spirits and bring relief to the soul (as happened to king saul).

it is the portrait of a king, a poet, and a musician, whose soul sings the divine praises through music, offering a powerful and fascinating glimpse into the connection between art, faith, and royalty.

he is portrayed in a majestic pose, highlighting his proverbial virtues: royal authority (the crown, the splendid, sumptuous, and regal robes with an ermine cloak) and his love of poetry in music (the notes written on the book and the precious, finely carved lyre).

an interesting detail is the legible notes on the open book and the phrase "laudate dominum omnes gentes, laudate eum" (praise the lord, all you peoples, praise him), often found in the psalms and in christian liturgy and indicating a universal praise of god, focused on the figure of king david, a central figure of the old testament, beloved by god and the promise of an eternal kingdom.

even the laurel branch, which baroque art loved to include in his portraits, elevates his intellectual and artistic stature, since tradition attributes to him the composition of the psalms, and he is therefore often portrayed as the "poet par excellence" of the bible.

from an attributional perspective, we can place this splendid canvas in the finest tradition of 17th-century spanish baroque, specifically within the circle of francisco de zurbarán, a leading figure in the seville golden age, a key artistic hub known for his mystical and austere style, influenced by caravaggio's realism, and for his solemn and monumental paintings of great religious figures.

his work is characterized by a highly eclectic style, in the use of chiaroscuro and a descriptive technique that pays great attention to the quality of detail. Our painting is a perfect example of this, given the attention to detail in the clothing, as well as the jewels adorning king david, all belonging to a repertoire frequently found in the works of zurbarán and his circle.

in particular, an analysis of the various details allows us to link the execution to the sevillian ignacio de ríes (seville, 1612 - seville, 1661), one of his most talented students and capable of achieving extremely high levels of quality.

we can easily compare our king david with other portraits by the painter, including the san fernando (ferdinand iii of castile and león) attributed to ignacio de ries, dated around 1655-1665 and currently in the town hall of seville, and even the same subject as ours, king david that de ries painted around 1650, today in the prado museum in madrid; both these works reveal significant similarities, are striking for the delicacy and quality of the modeling, obtained through a subtle gradation of chromatic tones and a sophisticated use of light and shadow; the anatomical precision and emotional atmosphere are also noteworthy.

additional information:

there are restorations and retouching of the paint on the surface.

the images were taken using a professional photographic set and lighting.

the work is sold complete with an antique frame and comes with a certificate of authenticity and an iconographic .

this piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution See less