Carved wooden high relief

The Nativity

Spain, 17th century

Carved wood (oak), polychrome and gilded

58 x 48 cm.

The wooden high-relief presented here, executed in polychrome and finely gilded, is a work of Spanish origin created in the late Gothic style, depicting the Nativity of Christ.

Let us now examine its compositional layout, which features, in the foreground, the monumental figures of the Virgin Mary—depicted kneeling with her hands clasped—and Saint Joseph, who holds a lantern (a classic attribute symbolising the night on which the miracle took place and the coming of Light into the world) whilst raising his right hand in a gesture of blessing.

Both are depicted in a posture of profound and intimate devotion, kneeling and facing the Baby Jesus, who lies on the ground, supported by the hem of Mary’s cloak. Gathered around him are small, adoring angels with feathered wings who tend to him, imbuing the central group with great intimacy, whilst another angel is visible on the left, watching over the scene.

The details forming the background to the bas-relief are also beautiful: in the upper section, a choir of angels witnesses the event from high above the stable, singing the canonical hymn ‘Gloria in excelsis Deo’, the words of which can be read on the scroll held by three of them.

Although the stylistic details of the carving have been reinterpreted, the sculpture draws its inspiration from the relief of the Nativity of Christ that adorns the Kefermarkt Altar (Kefermarkt Parish Church, Upper Austria), one of the absolute masterpieces of late Germanic Gothic sculpture, created around 1490 by an artist conventionally known as the Master of the Kefermarkt Altar.

Turning our attention back to our splendid version, we are faced with a fine example of that particular trend seen in certain 17th-century workshops (active mainly in Spain, Germany and the Alps) of drawing upon the complex iconography and structural models of the great masters of the late Northern Gothic, whilst reworking them through the sensibilities and techniques of the 17th century.

Whilst Gothic drapery, as seen in the original panel, tends to be sharp and defined in a ‘crinkled’ style (Knitterstil), the folds visible in this work reveal a softness and fluidity typical of the Baroque. The drapery flows with broader, enveloping and sinuous lines, lending a sculptural volume and a sense of bodily movement quite unlike the angularity of the Middle Ages. Even in the rendering of the faces, such as that of our Virgin, we find a more mature, classical tenderness, and the features of the kneeling Saint Joseph also denote an expressive approach and a physiognomic naturalism characteristic of the seventeenth century.

Finally, the application of gold leaf is of great merit, combined with the dark ground colours of the rocky background and the lacquer effects, which enhance the contrasts of light and shadow – a theatrical play of light that was highly sought after during the 17th century to heighten the emotional engagement of the faithful.

Fig. 1 – Altar in the church at Kefermarkt, Upper Austria. Anonymous master (known as the Master of the Kefermarkt Altarpiece), c. 1497.

Fig. 2 – Detail of the panel depicting the Nativity of Christ

ADDITIONAL INFORMATION:

The work is sold accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers.

It is also possible to view the sculpture at our gallery in Riva del Garda, by appointment, where we will be delighted to welcome you and show you the works of interest to you.

Please feel free to contact us, with no obligation, for any further information.

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