Description

Signed José De la Vega
Height 230 cm x Width 146 cm

José Gutiérrez de la Vega y Bocanegra (Seville, December 26, 1791 - Madrid, December 1865) [1] was a Spanish painter.

Of all the painters of the nineteenth century, he was the one who best knew how to interpret Murillos tradition romantically, until he transferred the kind and tender sensibility of his celestial and immutable world to another contingent, although equally delicate, but much more immediate and sensual human, where even saints and virgins reveal themselves close.

He developed in Seville, his hometown, an important stage in his life as a painter, marked by two influences that he would not lose, the aforementioned of Murillo, whom he copied during his training, and that of his work with his father, engraver and carver; in addition, in 1828 he moved to Cádiz and through his contact with the hispanist Richard Ford and his friend the English consul John MacPherson Brackenbury, whom he made a portrait with his family in 1830, he became familiar with English painting. But his comprehensive training was carried out by the Seville Academy where he entered to study painting in 1802. [2]

In 1831 he traveled to Madrid with his friend, the Sevillian painter Antonio María Esquivel, to participate in the contest of the Academia de San Fernando and settled in the kingdoms capital when, in 1832, he was appointed academic of merit in that institution . In this second fertile stage, it remained on a continuous and homogeneous line, of high general quality.

The last communion of San Fernando, 1832, earned him the appointment as Academic of Merit at the Academia de San Fernando. Work of influences zurbanerescas and, especially, goyescas.

For years he played an important role in the artistic life of the capital, receiving a large number of commissions for high society.

He was a member of the Artistic and Literary Lyceum of Madrid in 1838, occupying the chair of ancient architecture with Jenaro Pérez Villaamil.

In 1840 he was appointed honorary chamber painter to Queen Elizabeth II.

He directed the Special School of Painting, Sculpture and Engraving, detached from the San Fernando Academy of Fine Arts, in 1843.

The period between 1845-1855 is the best of its production. The candor of their faces and the wealth of their dresses and jewelery ?Gutiérrez de la Vega was also an outstanding miniaturist? is resolved with precision, but with a fluffy and morbid technique, full of delicate fissures, where the pious suffering becomes soft pleasure , as in The Martyrdom of Saint Catherine or Las Santas Justa y Rufina, made around 1846.

One of the plots in which he stood out the most was the portrait genre; Among the many that he made, those of Queen Elizabeth II, that of Mariano José de Larra and that of Doña Narcisa Fernández de Irujo stand out.

In his artistic production there are also examples of religious themes such as Las Santas Justa and Rufina, La Virgen con el Niño and the Allegory of the New Testament, which reflect the strong influence of Murillos work on his art.

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