José de Cieza Paintings & Artwork for Sale | José de Cieza Art Value Price Guide

Mar. 07, 2024
JOSE DE CIEZA FLORES (GRANADA, 1656 - MADRID, 1692)
Est: €13,000 - €16,000
José de Cieza Flores (Granada, 1656 - Madrid, 1692) 'David defeats Goliath' Oil on canvas. Signed and dated 1692 on the sword. 130 x 110 cm. Dynamic and lively half-bust portrait of David with the head of the freshly decapitated Philistine Goliath, typical of the naturalism of 17th-century Baroque painting. José de Cieza Flores, the artist, painted his signature and the year 1692 on the sword carried by the shepherd, amidst a chorus of ladies or 'nymphs' of the time, who sing about the triumphant deed with musical instruments, rejoicing with the victor. This painting is of great importance amongst those of José de Cieza's, as it was created when he was already an honorary painter and artist to the King (from 1689), support he obtained through the influence of the constable of Castile, his protector during his stay in Madrid. With clear Caravaggesque tones, he has painted a biblical scene, making the religious theme the centre of the composition. He has painted the act of 'facing a gigantic challenge' with realism, just as we read in the Bible in 1 Samuel 17. A simple Israelite shepherd is faced with a fierce and giant Philistine. Despite the fear of the Israelites, his faith in Jehovah prevails, and David puts his trust in God. The young Israelite is dressed in armour. It is not an anachronism: King Saul gave it to him, but as it was too big, David took it off and decided to fight without it, in his shepherd's clothes. With a simple sling and stones he triumphed against the giant, 'without sword or armour,' as the scriptures say. He holds the defeated giant's sword. The weak becomes strong, with an impenetrable iron breastplate, and the strong and fierce giant falls collapsed with the precise blow of a simple stone to his forehead. David, beardless and feminine, as described in the Bible, could almost come out of a Caravaggio portrait. There is also a similar cast of courtesans such as models and musicians in the painting 'Concert of Youths' by the Italian painter, adorned with headdresses, rich dresses, and brocades typical of the painter's time, celebrating the triumph of their friend, the defeat of the oppressor, and above all, the greatness of Jehovah shown in the weak overcoming the strong. Cieza was born in Granada in 1646. The son of the painter Miguel Jerónimo de Cieza, he trained in his father's workshop, following the pictorial guidelines of the school of Alonso Cano and growing up in the artistic atmosphere of the city. He continued his training with his father's most outstanding disciple and friend, Pedro Atanasio Bocanegra. As we read in the account of José de Cieza from the Royal Academy of History: After an initial period of collaboration in the family workshop, on religious works and some ephemeral decorations for the Corpus Christi festivities, he moved to Madrid (1685) after his father's death. In the Court, he joined the group of artists responsible for theatrical decorations for the palace of Buen Retiro. His work earned him the title of honorary painter of the King (1689), which he achieved through the influence of the constable of Castile, apparently his protector in Madrid. Some of his works include, for example, 'The Infant Jesus with Two Angels,' from 1673, belonging to the BSCH collection in Madrid; 'Christ and the Samaritan Woman,' from 1674, located in the hermitage of San Miguel in Granada; the Saint Johns of the Royal Chapel of Granada, the Apparition of Saint Francis of Paola, 1691, kept in the Prado Museum, as well as a painting of Saint Hierotheos and Saint Dionysius in the Episcopal Museum of Huesca. Additionally, there is a drawing, 'Saint Francis of Paola before the King of Naples,' which is part of the collection at the British Museum in London. This painting was part of the exhibition 'Unpublished Works of the Granada Baroque,' at the Cajagranada Foundation from January 2021 to April 2022. Bibliographic reference: - Aterido Fernández, Ángel. (n.d.). 'José de Cieza Flores'. https://dbe.rah.es/biografias/52199/jose-de-cieza-flores
La Suite Subastas
Jun. 22, 2023
Spanish school of the seventeenth century. It could be JOSÉ DE CIEZA (Granada, 1656 - Madrid, 1692). "The Sleeping Child Jesus Oil on panel. With vintage frame.
Est: €1,500 - €1,800
Spanish school of the 17th century. Attributable to JOSÉ DE CIEZA (Granada, 1656 - Madrid, 1692). "The Sleeping Infant Jesus Oil on panel. With period frame. Size: 36 x 34 cm; 60 x 60 cm (frame). Devotional image framed within the Spanish Baroque, a scene of great tenderness that seeks to move the spirit of the faithful and exalt their religious feeling. To this end, the painter shows Jesus as an innocent child, sleeping carefree beside a river fed by two fountains, a symbolic element that alludes to Jesus as a source of living waters that quenches spiritual thirst. Jesus appears on a bed of white cloths, a colour representative of purity, and protected by a red cloak that falls over his head, alluding to the Passion, a veiled symbol of his dramatic destiny. It is therefore a fully symbolic image, very typical of Spanish Baroque religiosity. Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent infancy of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. This idea was already familiar to the theologians of the Middle Ages, but the artists of the time expressed it discreetly, either through the Virgin's preoccupied expression or through the bunch of grapes which the Child is clutching in his hands. It was above all in the art of the Counter-Reformation that this funeral presentiment of the Passion was expressed by means of transparent allusions. Zurbarán shows the Infant Jesus pricking himself with his finger as he plaits a crown of thorns. Murillo, the little Saint John the Baptist showing him his cross of reeds. Finally, the theme finds its most moving expression in the subject of the Infant Jesus Sleeping on a Cross. From its formal characteristics we can relate this work to the hand of José de Cieza, a Baroque painter active in Granada and Madrid in the second half of the 17th century. Trained in the workshop of his father, the painter Miguel Jerónimo de Cieza, the young artist learned in his early years the Flemish formulas of his father's language, which would be visible in his first works. His art evolved through his knowledge of the painting of Alonso Cano, and he finally achieved a mature language characterised by complex architectural perspectives with small figures. Works by Cieza are currently held in the Prado Museum, the Diocesan Museum of Huesca, the Royal Chapel of Granada, the Monastery of San Jerónimo, the Museum of Fine Arts of Granada and other public and private collections.
Setdart Auction House
Oct. 13, 2022
Spanish school of the seventeenth century. It could be JOSÉ DE CIEZA (Granada, 1656 - Madrid, 1692). "The Sleeping Child Jesus Oil on panel. With vintage frame.
Est: €1,500 - €2,000
Spanish school of the 17th century. Attributable to JOSÉ DE CIEZA (Granada, 1656 - Madrid, 1692). "The Sleeping Infant Jesus Oil on panel. With period frame. Size: 36 x 34 cm; 60 x 60 cm (frame). Devotional image framed within the Spanish Baroque, a scene of great tenderness that seeks to move the spirit of the faithful and exalt their religious feeling. To this end, the painter shows Jesus as an innocent child, sleeping carefree beside a river fed by two fountains, a symbolic element that alludes to Jesus as a source of living waters that quenches spiritual thirst. Jesus appears on a bed of white cloths, a colour representative of purity, and protected by a red cloak that falls over his head, alluding to the Passion, a veiled symbol of his dramatic destiny. It is therefore a fully symbolic image, very typical of Spanish Baroque religiosity. Throughout its history, and especially in the Modern Age, Christian art delighted in casting the shadow of the cross over the innocent infancy of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to stir hearts. This idea was already familiar to the theologians of the Middle Ages, but the artists of the time expressed it discreetly, either through the Virgin's preoccupied expression or through the bunch of grapes which the Child is clutching in his hands. It was above all in the art of the Counter-Reformation that this funeral presentiment of the Passion was expressed by means of transparent allusions. Zurbarán shows the Infant Jesus pricking himself with his finger as he plaits a crown of thorns. Murillo, the little Saint John the Baptist showing him his cross of reeds. Finally, the theme finds its most moving expression in the subject of the Infant Jesus Sleeping on a Cross. From its formal characteristics we can relate this work to the hand of José de Cieza, a Baroque painter active in Granada and Madrid in the second half of the 17th century. Trained in the workshop of his father, the painter Miguel Jerónimo de Cieza, the young artist learned in his early years the Flemish formulas of his father's language, which would be visible in his first works. His art evolved through his knowledge of the painting of Alonso Cano, and he finally achieved a mature language characterised by complex architectural perspectives with small figures. Works by Cieza are currently held in the Prado Museum, the Diocesan Museum of Huesca, the Royal Chapel of Granada, the Monastery of San Jerónimo, the Museum of Fine Arts of Granada and other public and private collections.
Setdart Auction House
Jun. 30, 2021
Spanish school of the seventeenth century. It could be CIEZA, José de (Granada, 1656 - Madrid, 1692). "The Sleeping Child Jesus Oil on panel.
Est: €2,000 - €2,500
Spanish school of the seventeenth century. It could be CIEZA, José de (Granada, 1656 - Madrid, 1692). "The Sleeping Child Jesus Oil on panel. With vintage frame. Measures: 36 x 34 cm; 60 x 60 cm (frame). Devotional image framed within the Spanish baroque, a scene of great tenderness that seeks to move the spirit of the faithful and exalt their religious sentiment. For this, the painter shows us Jesus as an innocent child, who sleeps unconcerned next to a river fed by two fountains, an element of symbolic character that alludes to Jesus as a source of living waters, which quenches the spiritual thirst. Jesus appears on a bed of white cloths, a color representative of purity, and protected by a red mantle that falls on his head, alluding to the Passion, a veiled symbol of his dramatic destiny. It is therefore a fully symbolic image, very typical of Spanish baroque religiosity. Throughout its history, and especially in the Modern Age, Christian art delighted in projecting the shadow of the cross on the innocent infancy of Jesus. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to move hearts. This idea was already familiar to the theologians of the Middle Ages, but the artists of that time expressed it discreetly, either through the worried expression of the Virgin, or through the bunch of grapes that the Child squeezes in his hands. It was especially in the art of the Counter-Reformation that this funeral presentiment of the Passion was expressed by means of transparent allusions. Zurbarán shows the Infant Jesus pricking himself with his finger while braiding a crown of thorns. Murillo, the little St. John the Baptist showing him his cross of reeds. Finally, the theme finds its most moving expression in the theme of the Child Jesus Sleeping on a cross. Because of its formal characteristics we can relate this work to the hand of José de Cieza, a baroque painter active in Granada and Madrid in the second half of the 17th century. Trained in the workshop of his father, the painter Miguel Jerónimo de Cieza, the young artist learned in his early years the Flemish formulas of his father's language, which will be visible in his first works. His art will evolve through the knowledge of Alonso Cano's painting, and finally he will reach a mature language characterized by complex architectural perspectives with small figures. Cieza's works are currently preserved in the Prado Museum, the Diocesan Museum of Huesca, the Royal Chapel of Granada, the Monastery of San Jerónimo, the Museum of Fine Arts of Granada and other public and private collections.
Setdart Auction House
Dec. 19, 2018
JOSÉ DE CIEZA (Granada, 1656-Madrid, 1692) El paso del mar rojo Oleo sobre lienzo de 103 x 169 cm. Firmado
Est: -
JOSE DE CIEZA (Granada, 1656-Madrid, 1692) The passage of the red sea Oil on canvas of 103 x 169 cm. Signed
Sala Retiro Subastas
Nov. 30, 2016
JOSÉ DE CIEZA (Granada, 1656-Madrid, 1692) El paso del mar rojo
Est: -
JOSÉ DE CIEZA (Granada, 1656-Madrid, 1692) El paso del mar rojo, Oleo sobre lienzo de 103 x 169 cm. Firmado
Sala Retiro Subastas
Apr. 12, 2013
Italo-spanischer Maler des 17. Jahrhunderts, José de Cieza, 1656 - 1692, zug.
Est: €3,000 - €4,000
Schlafendes Kind unter einem Baum zwischen zwei Quellen Öl auf Holz. 37 x 34 cm. In altem, vergoldetem Rahmen. Das Thema wohl ursprünglich religiös, als "Schlafender Jesusknabe" aufzufassen, jedoch wohl schon zur Entstehungszeit mehrdeutig verstanden. Das nackte Knäblein liegt nur mit einer Bauchbinde bekleidet auf einem weißen, gefalteten Laken unter einem Baum, ein rotes, über die Äste gespanntes Tuch dient als Sonnensegel. Im landschaftlichen Hintergrund ist rechts ein Felsmassiv gezeigt, dem eine Quelle entspringt, darüber Büsche und Bäume sowie ein abendlicher Himmel. In der linken unteren Ecke eine weitere Wasserquelle mit Wasserlauf, der zum unteren Bildrand nach rechts zieht. Möglicherweise sind die beiden Quellen als Altes und Neues Testament zu verstehen, aus denen die Inhalte der christlichen Religion schöpfen. Wohl einem spanischen Meister zuschreibbar, zeigt das Bild eindeutig den Einfluss der italienischen Malschule Oberitaliens, wo zahlreiche spanische Meister ihre Ausbildung erfahren hatten. (891593)
Hampel Fine Art Auctions
Apr. 29, 2010
JOSÉ DE CIEZA
Est: £10,000 - £15,000
JOSÉ DE CIEZA GRANADA 1656 - 1692 MADRID A CAPRICCIO LANDSCAPE WITH FIGURES RETURNING TO A VILLA FROM THE HUNT oil on canvas, unlined 101.5 by 152 cm.; 40 by 59 7/8 in.
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