Matías de Arteaga Paintings & Artwork for Sale | Matías de Arteaga Art Value Price Guide

Oct. 01, 2024
MATÍAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The nuptials of the Virgin". Oil on canvas. Preserves original canvas with patches on the back.
Est: €9,000 - €10,000
MATÍAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The nuptials of the Virgin". Oil on canvas. Preserves original canvas with patches on the back. It presents Repainting and restorations in the pictorial surface. Measurements: 94 x 139 cm; 113 x 159 cm (frame). The spouses appear one in front of the other holding hands, slightly turned towards the spectator and surrounded by witnesses, in front of the priest who appears standing behind them centering the composition. The scene takes place in a rich interior meticulously described and worked following the laws of classical perspective, referring to Italian models of the 16th century. The work presents a great similarity with works by Matías de Arteaga, where the classical architecture has a great protagonism. An example of this is the work of the Wedding at Cana, which belongs to the collection of the Museum of Fine Arts of Seville, where a treatment of space similar to the present painting can be observed. In addition, it is worth mentioning that the theme of the nuptials of the Virgin was recurrent in Arteaga's painting, in fact in the collection of the Prado Museum there is a work very similar to this one, whose attribution, according to Angulo, is linked to Arteaga's circle. Matías de Arteaga y Alfaro was a painter and engraver of the Spanish Baroque. Attached to the Sevillian school, he knew how to collect and interpret with his own personality the double influence of Murillo and Valdés Leal. Son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he would be trained in his father's workshop and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed the master painter's exam, in 1656. In 1660 he was among the founding members of the famous drawing academy promoted by Murillo, among others, of which he served as secretary between that date and 1673. In 1664 he joined the Brotherhood of the Holy Charity and two years later in the Sacramental of the Sagrario of the Sevillian cathedral, for which he made some works. Around 1680 there is also evidence of his work as an appraiser of paintings. He died in 1703, the inventory of the goods left at his death reveals a well-to-do way of life, having a slave and a large and well-furnished house, which had a medium-sized library with important books in Latin and Spanish and an engraving studio, as well as more than one hundred and fifty paintings, almost half of them of religious subject matter. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those we see in this work and in those preserved in the Museum of Fine Arts in Seville. The most characteristic of his peculiar style are precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skillful in the creation of these deep perspectives, skillfully illuminated, however, in the treatment of the figures and their bodily expressions he tends to develop with a certain clumsiness. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian temples including the cathedral and the Lázaro Galdiano Museum, among others. Preserves original canvas with patches on the back. It presents repainting and restorations on the pictorial surface.
Setdart Auction House
Sep. 12, 2024
Holy Family with Very Important Old Spanish Baroque Frame from the 17th century, attributed to MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real 1633 - Seville 1703)
Est: €12,000 - €15,000
Canvas measurements only 177 x 130 cm, frame measurements: 193 x 156 cm. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Jul. 25, 2024
Matías de Arteaga y Alfaro (Villanueva de los Infantes, 1633-Seville, 1703) - 17th century, The Presentation of the Child Jesus, 17th century Sevillian school
Est: €1,500 - €1,600
Oil on canvas: 46 x 60 cm, total framed.
Templum Fine Art Auctions
Jul. 25, 2024
Holy Family with Very Important Old Spanish Baroque Frame from the 17th century, attributed to MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real 1633 - Seville 1703)
Est: €12,000 - €15,000
Canvas measurements only 177 x 130 cm, frame measurements: 193 x 156 cm. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Jul. 22, 2024
MATIAS DE ARTEAGA Y ALFARO Villanueva de los In (1633) / Seville (1703) "Portrait of Ferdinand III, the Saint, King of Castile", 1672
Est: €540 - €720
Etching and burin on paper Inscription on the frame: "Vera effigies DIUI FERNDINANDI, III. Regis Castellæ & Legionis." and lower inscription: "Magni FERNANDI, veros in imagine vultus / Af picis, expreffit quos tibi docta manus. / Huius Alexandri faciem qui pinxit Apellem. / Fors dedit, ast animum pingere nemo potest." Originally signed and dated: “Bartolome murillo pins. Mathias Arteaga sculpt. et xcud A.1672”. Arteaga's signature has been erased, causing a tear in that part of the paper. Also paper cut out and adhered to a cardboard support. Engraving belonging to the work “Feasts of the S. Metropolitan and Patriarchal Church of Seville, to the new cult of the Lord King S. Ferdinand the Third of Castile and Leon: granted to all the churches of Spain, by the Holiness of Our Blessed Father Clemente footprint: 28.2 x 18.2 cm
Ansorena
Jun. 27, 2024
ATTRIBUTED TO MATÍAS DE ARTEAGA (VILLANUEVA DE LOS INFANTES, 1633 - SEVILLE, 1703)
Est: €8,000 - €12,000
Attributed to Matías de Arteaga (Villanueva de los Infantes, 1633 - Seville, 1703) "The Adoration of the Magi" Oil on canvas. 62 x 83 cm. Painter and engraver, son of the engraver Bartolomé Arteaga, he developed his artistic activity in Seville, especially linked, between 1660 and 1673, to the academy founded by Murillo, where he not only attended but also contributed economically and of which he was secretary in 1666 and consul three years later. As we read in the Royal Academy of History article, "In his art he showed a singular interest in perspective and broad settings. He probably had a very active workshop, since there are many artworks that, in regard to his style, have very different qualities. Among his paintings are important cycles such as the canvases of the Life of Saint Laurian from circa 1670 in the chapel of the saint in the cathedral of Seville, and the Eucharistic Series of the Sacramental Brotherhood from 1690. He also painted a series on the Life of the Virgin Mary, kept in the Museum of Seville, and another on the Life of Jesus Christ, some of the canvases of which are mentioned in private collections in Madrid. As an engraver he made covers and illustrations for books, the most outstanding among them being those of the book of Fernando de la Torre Farfán entitled "Fiestas de la S. Iglesia metropolitana y patriarcal de Sevilla al nuevo culto del señor Rey San Fernando" from1671. He was also an engraver of reproductions of canvases of the great masters of Seville, such as Murillo, Herrera, el Mozo, Alonso Cano and Valdés Leal, among others".
La Suite Subastas
Jun. 26, 2024
Matías de Arteaga y Alfaro (1633-1703) Oil on canvas - Annunciation of Mary
Est: €3,000 - €3,500
Sevillian Baroque School of the late 17th century Oil on canvas: 65 x 55 cm dimensions with frame: 80 x 70 cm
Templum Fine Art Auctions
May. 21, 2024
MATIAS DE ARTEAGA Y ALFARO Villanueva de los In (1633) / Seville (1703) "Portrait of Ferdinand III, the Saint, King of Castile", 1672
Est: €750 - €1,000
Etching and burin on paper Inscription on the frame: "Vera effigies DIUI FERNDINANDI, III. Regis Castellæ & Legionis." and lower inscription: "Magni FERNANDI, veros in imagine vultus / Af picis, expreffit quos tibi docta manus. / Huius Alexandri faciem qui pinXIt Apellem. / Fors dedit, ast animum pingere nemo potest." Originally signed and dated: “Bartolome murillo pins. Mathias Arteaga sculpt. et xcud A.1672”. Arteaga's signature has been erased, causing a tear in that part of the paper. Also paper cut out and adhered to a cardboard support. Engraving belonging to the work “Feasts of the S. Metropolitan and Patriarchal Church of Seville, to the new cult of the Lord King S. Ferdinand the Third of Castile and Leon: granted to all the churches of Spain, by the Holiness of Our Blessed Father Clemente footprint: 28.2 x 18.2 cm
Ansorena
Mar. 21, 2024
Large Adoration of the Kings, Matías de Arteaga y Alfaro (Villanueva de los Infantes, 1633 - Seville, 1703), 17th century Spanish school.
Est: €5,500 - €6,500
Oil on canvas, dimensions only canvas 100 x 45 cm, dimensions framed 115 x 160 cm. Matias de Arteaga y Alfaro (Villanueva de los Infantes, 1633 - Seville, 1703) was a Spanish Baroque painter and engraver, attached to the Sevillian school, who knew how to collect in his painting and interpret with his own personality the double influence of Murillo and Valdes Leal. Provenance: important private Sevillian collection, Spain.
Templum Fine Art Auctions
Dec. 29, 2022
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "Jesus and the adulteress". Oil on canvas. Relined.
Est: €2,000 - €3,000
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "Jesus and the adulteress". Oil on canvas. Relined. Measurements: 84 x 105 cm; 95 x 116 cm (frame). In this oil painting by Matías de Arteaga, as was typical of this painter's art, the architectural interior has been meticulously described and worked following the precepts of Italian perspective. However, Renaissance spatial solutions became more complicated in the Baroque period, with the superimposition of scenes and spaces. The main scene is occupied by Jesus, who points to the ground while saying "Let him who is blameless cast the first stone". In front of him is the woman who was to be stoned for adultery. The other figures are stunned and undecided by his words. The relief effect of the figures carved in the stone, the rich plasticity of the robes and the flesh tones, as well as the solution of the groups escaping towards a background of arcades are remarkable. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, such as the Wedding at Cana, which belongs to the collection of the Museo de Bellas Artes in Seville, or the Marriage of the Virgin, in the collection of the Museo del Prado. Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Setdart Auction House
Dec. 13, 2022
MATIAS DE ARTEAGA - Adoration of the Magi
Est: -
MATIAS DE ARTEAGA Villanueva de los Infantes, Ciudad Real 1633 - Seville 1703 Adoration of the Magi Oil on canvas Size 62 x 82.5 cm
Subastas Segre
Jun. 14, 2022
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The marriages of the Virgin." Oil on canvas. It has a lack of frame and slight repaints.
Est: €4,500 - €5,000
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The Betrothal of the Virgin. Oil on canvas. It presents lack of stretcher and slight repainting. Measurements: 86 x 125 cm. We see in this canvas the nuptials of Mary and Joseph in the temple, in a classical composition, centred and balanced, of Italian inheritance. The spouses appear facing each other holding hands, slightly turned towards the spectator and surrounded by witnesses, in front of the priest who appears standing behind them, centring the composition. The scene takes place in a rich interior that is meticulously depicted and worked according to the laws of classical perspective, referring to 16th-century Italian models. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, an example of which is the Wedding at Cana, which belongs to the collection of the Seville Museum of Fine Arts. It should also be noted that the theme of the betrothal of the Virgin was a recurring one in Arteaga's painting, and in fact the Museo del Prado collection contains a work on this theme, similar to this one, whose attribution, according to Angulo, is linked to Arteaga's circle. Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, but the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Setdart Auction House
Feb. 23, 2022
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The marriages of the Virgin." Oil on canvas. It has a lack of frame and slight repaints.
Est: €5,000 - €7,000
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The Betrothal of the Virgin. Oil on canvas. It presents lack of stretcher and slight repainting. Measurements: 86 x 125 cm. We see in this canvas the nuptials of Mary and Joseph in the temple, in a classical composition, centred and balanced, of Italian inheritance. The spouses appear facing each other holding hands, slightly turned towards the spectator and surrounded by witnesses, in front of the priest who appears standing behind them, centring the composition. The scene takes place in a rich interior that is meticulously depicted and worked according to the laws of classical perspective, referring to 16th-century Italian models. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, an example of which is the Wedding at Cana, which belongs to the collection of the Seville Museum of Fine Arts. It should also be noted that the theme of the betrothal of the Virgin was a recurring one in Arteaga's painting, and in fact the Museo del Prado collection contains a work on this theme, similar to this one, whose attribution, according to Angulo, is linked to Arteaga's circle. Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, but the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Setdart Auction House
Sep. 21, 2021
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The Betrothal of the Virgin" Oil on canvas.
Est: €5,000 - €7,000
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "The Betrothal of the Virgin" Oil on canvas. It presents lack of stretcher and slight repainting. Measurements: 86 x 125 cm. We see in this canvas the nuptials of Mary and Joseph in the temple, in a classical composition, centred and balanced, of Italian inheritance. The spouses appear facing each other holding hands, slightly turned towards the spectator and surrounded by witnesses, in front of the priest who appears standing behind them, centring the composition. The scene takes place in a rich interior that is meticulously depicted and worked according to the laws of classical perspective, referring to 16th-century Italian models. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, an example of which is the Wedding at Cana, which belongs to the collection of the Seville Museum of Fine Arts. It should also be noted that the theme of the betrothal of the Virgin was a recurring one in Arteaga's painting, and in fact the Museo del Prado collection contains a work on this theme, similar to this one, whose attribution, according to Angulo, is linked to Arteaga's circle. Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, but the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Setdart Auction House
Jun. 01, 2021
Attributed to MATIAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "Presentation of the Virgin in the temple", s. XVII. Oil on canvas.
Est: €2,500 - €3,000
Attributed to MATIAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703). "Presentation of the Virgin in the temple", s. XVII. Oil on canvas. Measurements: 46 x 33 cm; 63 x 50 cm (frame). In this canvas the author represents a scene from the life of the Virgin Mary, her presentation in the Temple as a child. The narrative is set in an urban setting, dominated by a staircase that plays an important role in the story, and serves to differentiate the two planes of the composition, and at the same time to order the figures. These, starting from the foreground, establish a diagonal reading rhythm. The line starts from the head of St. Joachim in the lower left corner, goes up diagonally, passing by St. Anne, and guides our gaze to the Virgin, vividly illuminated, to finally reach the figure of Zachary, located at the top of the staircase. The canvas presents a scenographic composition, clearly counter-reformist. The scene is located on the outside of the temple, meticulously described, as befits baroque painting. It is worth mentioning that it was during the Baroque period when the representations of the virgin became more important and iconographically relevant because the Protestants did not believe in the figure of the virgin. Matías de Arteaga y Alfaro was a painter and engraver of the Spanish Baroque. Attached to the Sevillian school, he knew how to collect and interpret with his own personality the double influence of Murillo and Valdés Leal. Son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he would be trained in his father's workshop and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed the master painter's exam, in 1656. In 1660 he was among the founding members of the famous drawing academy promoted by Murillo, among others, of which he served as secretary between that date and 1673. In 1664 he joined the Brotherhood of the Holy Charity and two years later in the Sacramental of the Sagrario of the Sevillian cathedral, for which he made some works. Around 1680 there is also evidence of his work as an appraiser of paintings. He died in 1703, the inventory of the goods left at his death reveals a well-to-do way of life, having a slave and a large and well-furnished house, which had a medium-sized library with important books in Latin and Spanish and an engraving studio, as well as more than one hundred and fifty paintings, almost half of them of religious subject matter. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those we see in this work and in those preserved in the Museum of Fine Arts in Seville. The most characteristic of his peculiar style are precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skillful in the creation of these deep perspectives, skillfully illuminated, however, in the treatment of the figures and their bodily expressions he tends to develop with a certain clumsiness. Arteaga is represented in the aforementioned museum in Seville, various Sevillian temples including the cathedral and the Lazaro Galdiano Museum, among others.
Setdart Auction House
Nov. 04, 2020
MATIAS DE ARTEAGA Y ALFARO'S CIRCLE "The Flight to Egypt"
Est: €3,000 - €4,000
.Oil on canvas
Ansorena
Jun. 24, 2020
ESCUELA SEVILLANA - "La Visitación"
Est: -
Obra muy cercana a las composiciones del pintor Matías de Arteaga (1630 - 1703)
Ansorena
Feb. 20, 2020
Matías de Arteaga (Atrib.) (1633-1703) "Presentación de la Virgen en el templo"
Est: -
Matías de Arteaga (Atrib.) (1633-1703) "Presentación de la Virgen en el templo" Óleo sobre lienzo - Colección particular sevillana. 48x34 cm
Subastas Darley
Jan. 22, 2020
ESCUELA SEVILLANA S. XVIII / ? - "La Visitación"
Est: -
ESCUELA SEVILLANA S. XVIII / ? "La Visitación" Obra muy cercana a las composiciones del pintor Matías de Arteaga (1630 - 1703) 40 x 51 cm Óleo sobre lienzo
Ansorena
Oct. 09, 2019
MATÍAS DE ARTEAGA. The presentation of Jesus in the temple.
Est: €1,200 - €1,400
Oil on canvas 64x102.5 cm.
Balclis
Oct. 09, 2019
MATÍAS DE ARTEAGA. The Annunciation.
Est: €1,200 - €1,400
Oil on canvas 64x102.5 cm.
Balclis
Feb. 05, 2019
Jesús ante los doctores
Est: -
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, 1633 – 1703). Óleo sobre lienzo. 109 x 98,5 cm MATÍAS DE ARTEAGA AND ALFARO (Villanueva de los Infantes, 1633 - 1703). Oil on canvas. 109 x 98.5 cm
Isbilya Subastas
Dec. 19, 2018
Attributed to Matías de Arteaga, Saint Gabriel the Archange
Est: €1,200 - €1,500
Attributed to Matías de Arteaga Villanueva de los Infantes 1633 - Seville 1703 Saint Gabriel the Archangel Oil on canvas 67.5x54 cm
Balclis
Oct. 24, 2018
Matías de Arteaga, The Visitation, Oil on canvas
Est: €6,000 - €7,000
Matías de Arteaga Villanueva de los Infantes 1633 - Seville,1703 The Visitation Oil on canvas 107x146.5 cm
Balclis
Oct. 25, 2017
ATTRIBUTED TO MATÍAS DE ARTEAGA, Visitación de la Virgen a su prima Santa Isabel. Oil on canvas
Est: -
Visitación de la Virgen a su prima Santa Isabel ATRIBUIDO A MATÍAS DE ARTEAGA 1633 Villanueva de los Infantes, Ciudad Real - 1703 SevillaVisitación de la Virgen a su prima Santa Isabel
Isbilya Subastas
Oct. 25, 2017
ATTRIBUTED TO MATÍAS DE ARTEAGA, Presentación de la Virgen en el templo. Oil on canvas
Est: -
Presentación de la Virgen en el templo ATRIBUIDO A MATÍAS DE ARTEAGA 1633 Villanueva de los Infantes, Ciudad Real - 1703 Sevilla Presentación de la Virgen en el templo
Isbilya Subastas
Dec. 14, 2016
Matias de ARTEAGA Y ALFARO (1633-1703), attr. à, La Visitation, huile sur toile, 145,5x193 cm
Est: CHF1,500 - CHF2,000
Matias de Arteaga y Alfaro (1633-1703), attr. à, La Visitation, huile sur toile, 145,5x193 cm
Piguet Hôtel des Ventes | Genève
Oct. 21, 2015
THE FOOD OF JOSEPH AND HIS BROTHERS, AND JOSEPH'S ENCOUNTER WITH JACOB
Est: -
MATÍAS DE ARTEAGA La comida de José y sus hermanos y El encuentro de José con Jacob Óleo sobre lienzo - La comida de José y sus hermanos. Génesis, 46 (29). El tema es poco común desde el punto de vista iconográfico. A su regreso, José hospeda en su casa a sus once hermanos y les ofrece una comida. Por ser abominable que los egipcios comieran sentados junto con los hebreos, el patriarca comió solo en una pequeña mesa. Un sirviente acude a él para recibir la orden de atender a sus familiares, que alineados en su mesa muestran gestos de admiración y gratitud. El escenario donde tiene lugar el ágape es una loggia abierta con arcos a la derecha que permiten contemplar un ámbito cuidado resuelto en una marcada perspectiva. Se marca la verticalidad de las columnas, elementos que riman con la disposición de las figuras. Curiosos detalles de bodegón aparecen sobre las mesas a los que se añaden objetos de vajilla.- El encuentro de José con Jacob. Génesis, 46 (29). Una vez descubierta la verdad, por fin padre e hijo se disponen a abrazarse en medio de un suntuoso salón que se abre al fondo en un amplio arco a través del cual se observa una perspectiva arquitectónica. El artista ha centrado la composición en las dos figuras principales las cuales adelantan sus cuerpos el uno hacia el otro con una intensa emoción reflejada en sus rostros.Esta serie de la “Historia de José” de Matías de Arteaga es un conjunto formado por cuatro pinturas, aunque en su origen quizás fueran seis, que testimonia una vez más la capacidad narrativa de este pintor dentro de la escasez de obras conocidas de su catálogo.Presenta las características propias y definidas del estilo de este artista mediante el contraste entre el movimiento de los personajes, configurados físicamente con sus típicos rasgos faciales y una gesticulación muy marcada y expresiva, con el estatismo del empleo del recurso de una solería ajedrezada en tonos rojos y negros que da paso a grandes escenarios arquitectónicos como fondo de las pinturas en las que proyecta profundas perspectivas.Las pinturas han sido recientemente restauradas.BIBLIOGRAFÍA: Valdivieso, Enrique, “Una serie de la historia de José por Matías de Arteaga”, Laboratorio de Arte nº 10, Sevilla, 1997, pp. 437-443. 187 X 166 cm
Isbilya Subastas
Oct. 21, 2015
JOSÉ REFUSING TO POTIPHAR'S WIFE. JOSEPH RECOGNIZED HIS BROTHERS.
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MATÍAS DE ARTEAGA José rechazando a la mujer de Putifar. José reconociendo a sus hermanos. Óleo sobre lienzo 1- José rechazando a la mujer de Putifar. Génesis, 39 (7-20). José aparece huyendo aparatosamente de la mujer de Putifar, que desde su lecho tiende sus brazos para retenerle. Arteaga suaviza el tema bíblico para que se adapte al pensamiento imperante en la Sevilla de su época representando a la figura femenina vestida al tiempo que abre una escena al fondo, para describir un patio porticado que señala una profunda perspectiva que ocupa gran parte de la composición.2- José reconociendo a sus hermanos. Génesis 42, (7). La escena se desarrolla en un salón donde en un estrado se encuentra José, sentado en un trono bajo dosel, en actitud de dirigirse a sus hermanos que arrodillados le escuchan temerosos. Ellos no le identificaron porque estaban seguros de que había muerto, pero José con gran sorpresa les reconoce y tras escucharles les trató de espías, les habló duramente y les ordenó que regresaran a Caná y que volviesen de nuevo a Egipto trayendo consigo a su hermano menor Benjamín. Un soldado provisto de una alabarda custodia la audiencia, mientras que el fondo se abre a un patio porticado con altos arcos de medio punto, cuya perspectiva desemboca en una vista urbana en medio de la cual se levanta una alta torre, un minarete a la manera de la Giralda, que evoca la Giralda de Sevilla. 187 X 166 cm
Isbilya Subastas
Oct. 28, 2014
MATÍAS DE ARTEAGA Y ALFARO
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(Villanueva de los Infantes, 1633- Sevilla,1703). "Epifanía", óleo sobre lienzo, 92x112 cm.
Sala de Ventas
May. 29, 2014
Attributed to Matías de Arteaga Villanueva de los Infantes 1633 - Seville 1703 The Visitation
Est: €1,500 -
Attributed to Matías de Arteaga. Villanueva de los Infantes 1633 - Seville 1703 . The Visitation. Oil on canvas. 105,7x166,3 cm Atribuido a Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 La Visitación Óleo sobre lienzo 105,7x166,3 cm Matías de Arteaga zugeschrieben Villanueva de los Infantes 1633 - Sevilla 1703 Die Heimsuchung Öl auf Leinwand 105,7x166,3 cm
Balclis
Dec. 18, 2013
Attributed to Matías de Arteaga Villanueva de los Infantes 1633 - Seville 1703 The Visitation
Est: €2,250 -
Attributed to Matías de ArteagaVillanueva de los Infantes 1633 - Seville 1703 The VisitationOil on canvas105,7x166,3 cm Atribuido a Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 La Visitación Óleo sobre lienzo 105,7x166,3 cm
Balclis
Jul. 18, 2013
Attributed to Matías de Arteaga Villanueva de los Infantes 1633 - Seville 1703 The Visitation
Est: €3,500 -
Attributed to Matías de ArteagaVillanueva de los Infantes 1633 - Seville 1703 The VisitationOil on canvas105,7x166,3 cm Atribuido a Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 La Visitación Óleo sobre lienzo 105,7x166,3 cm
Balclis
Jul. 12, 2012
Matías de Arteaga (Villanueva de los Infantes 1633 - Sevilla 1703) y taller La presentación de la Virgen en el templo Óleo sobre lie...
Est: €1,800 -
Matías de Arteaga (Villanueva de los Infantes 1633 - Seville 1703) and workshop The presentation of the Virgin in the templeOil on canvas 104x165 cm Matías de Arteaga (Villanueva de los Infantes 1633 - Sevilla 1703) y taller La presentación de la Virgen en el templo Óleo sobre lienzo 104x165 cm
Balclis
Dec. 21, 2011
Attributed to Matías de Arteaga (Villanueva de los infantes 1633- Seville 1703)
Est: €3,000 -
Attributed to Matías de Arteaga (Villanueva de los infantes 1633- Seville 1703) Oil on canvas The Annunciation. 122X98 cm Atribuido a Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 La Anunciación Óleo sobre lienzo 122x98 cm
Balclis
Oct. 20, 2011
Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 María Magdalena y Cristo en la casa de Simón, el fariseo Óleo sobre...
Est: €7,000 -
Matías de Arteaga Villanueva de los Infantes 1633 - Sevilla 1703 María Magdalena y Cristo en la casa de Simón, el fariseo Óleo sobre lienzo 88,5x113 cm
Balclis
Mar. 17, 2011
Matías de Arteaga (Villanueva de los Infantes 1633 - Sevilla 1703) María Magdalena y Cristo en la casa de Simón, el fariseo
Est: - €7,000
Matías de Arteaga (Villanueva de los Infantes 1633 - Sevilla 1703) María Magdalena y Cristo en la casa de Simón, el fariseo Óleo sobre lienzo
Balclis