1670-73 Painted and gilt wood Hospital de la Caridad, Seville The Brotherhood of Charity, the Caridad, as it is known, was one of Seville's major lay confraternities. It was founded in 1565 with the mission of providing a decent burial for paupers. From 1663 the charitable activities were expanded to provide care for the needy sick, and a hospital was built, simultaneously enlarging and renovating the already existing chapel. The scheme for the decoration of the chapel is a tripartite exposition of Christian charity as the way of salvation. The first part comprises two memorable paintings by Vald?s Leal, demonstrating the futility of earthly pursuits and honours. A life devoted to accumulating wealth, power, and even learning is shown to lead only to the grave. Charity, which constitutes the second part of the program, provides the way to salvation, as seen in the seven acts of mercy, six of which are depicted by Murillo; the seventh, burying the dead, the Caridad's foundation charity, is embodied in a sculptural group, the Entombment of Christ by Pedro Rold?n, placed in the altarpiece. The third component consists of two paintings by Murillo for lateral altars, depicting St Elizabeth of Hungary and St John of God, both illustrating the efficacy of good works and the necessity of personal participation in charitable deeds. The picture shows a detail of Rold?n's Entombment group. In seventeenth-century Spain the economic crisis had the effect of intensifying religion and bringing it closer to the people. Spanish sculpture of this period, nearly always in brightly coloured wood, treated the various figures of the Passion singly, in isolation, with the devoutness of a miracle play, thus bringing about an unexpected return to the cultural atmosphere of the Middle Ages. Rold?n's sculptural group is an example of this style
Painting ID:: 62299
Raphael 1507(1507)
Medium oil on panel
cyf The Entombment Italian High Renaissance Painter, 1483-1520
Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models.
His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
