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    • JUAN SOREDA - Martyrdom of Saints Emeterio and Celedonio
      Mar. 19, 2024

      JUAN SOREDA - Martyrdom of Saints Emeterio and Celedonio

      Est: -

      JUAN SOREDA Active in Sigüenza 1506 - Burgos c. 1537 Martyrdom of the saints Emeterio and Celedonio Oil on canvas Measurements 111.5 x 76 cm The holy martyrs Emeterio and Celedonio, patrons of Calahorra and Santander, were some Roman soldiers originally from Hispania Tarraconense who at the beginning of the persecution of Diocletian or Valerian were beheaded for proclaiming their faith in Jesus Christ. The panel in question can be considered the work of the painter of Levantine origin Juan de Soreda due to its close relationship with the scenes on the altarpiece of the parish church of San Pelayo Mártir (Olivares del Duero), a work in which the participation of the artist, and surely of his collaborators. The model of one of the martyrs is striking, reminiscent of the types of Juan de Villoldo, a disciple of Alonso Berruguete. We do not know to which altarpiece this panel from Soreda belonged. To create these complex groups he used assistants whose name we at least know is Pedro de la Puente, an official at his workshop in Sigüenza. We thank the researcher Isabel Mateo for her help in cataloging this work.

      Subastas Segre
    • JUAN SOREDA - Saint Barbara and Saint Catherine of Alexandria
      May. 24, 2022

      JUAN SOREDA - Saint Barbara and Saint Catherine of Alexandria

      Est: €5,000 - €10,000

      JUAN SOREDA Active in Sigüenza 1506 - Burgos c. 1537 Saint Barbara and Saint Catherine of Alexandria Oil on panel Size 74 x 75.8 cm The unpublished painting on panel that we present as the work of Juan Soreda It represents Saints Catherine of Alexandria and Barbara and offers the most personal style characteristics of this Seguntino altarpiece painter. In fact, the work has close formal links with the altarpiece of Santa Librada in the Sigüenza cathedral, which suggests a date for this piece in the late twenties, that is, in the mature phase of Soreda's production. The fabrics that cover the hair of the saints appear in other works by Soreda such as the Virgin with the Child and an angel from the BBVA collection. It is also stylistically related to this work in the way of resolving the groves and the peculiar way of drawing the hands. The cloudscape with dense clouds recalls that of the Crucifixion of San Pedro from a private collection. We do not know to which altarpiece this panel by Soreda belonged. In order to make these complex ensembles, he used assistants whose name we at least know is Pedro de la Puente, an official at his workshop in Sigüenza. The table of Santa Catalina de Alejandría y Santa Bárbara that we are dealing with constitutes, due to its novelty and quality, the most recent addition to the Soredian corpus, to which two other tables have also recently been incorporated with the theme of the Imposition of the chasuble on San Ildefonso and the Virgin with the Child Jesus, Santa Isabel and San Juanito. José Goméz Frechina (study excerpt) Madrid, April 18, 2022

      Subastas Segre
    • JUAN SOREDA (Spain, 1506-1537). "Virgin and Child Jesus, Saint Elizabeth and Saint John the Baptist". Oil on panel. Attached is a study by José Gómez Frechina. Spanish frame of the 17th century.
      Mar. 09, 2022

      JUAN SOREDA (Spain, 1506-1537). "Virgin and Child Jesus, Saint Elizabeth and Saint John the Baptist". Oil on panel. Attached is a study by José Gómez Frechina. Spanish frame of the 17th century.

      Est: €60,000 - €70,000

      JUAN SOREDA (Spain, 1506-1537). "Virgin and Child Jesus, Saint Elizabeth and Saint John the Baptist". Oil on panel. Attached is a study by José Gómez Frechina. Spanish frame of the 17th century. Measurements: 65 x 51,5 cm. 85,5 x 72 cm.(frame). Following the study carried out by the historian José Gómez Frechina, comparing his research with a large bibliography, we can affirm that this is an autograph and unpublished work by Juan Soreda. This devotional painting depicts the Virgin with the Infant Jesus, Saint Elizabeth and Saint John the Baptist, offering the painter's most personal stylistic characteristics. It has close formal links with the altarpiece of Santa Librada in Sigüenza cathedral by the same artist, suggesting a date for this work in the late 1920s, i.e. in the mature phase of his production. The Virgin holds the naked Child in her arms and looks towards Saint Juanito, who is holding a reed cross and is preparing to kiss the foot of the Divine Infant in an affectionate manner. In a more secluded setting, his mother Saint Elizabeth, depicted as a woman with a weathered, angular face, covers her hair with a headdress. He gives an intimate character to the effigy of the divine figures, who occupy the entire painting, exquisitely characterising the affections with gestures and glances. On a technical level, the tonal gradation and the glazes suggesting intense contrasts of light should be emphasised. The painting has a certain Leonardesque echo that may reflect Soreda's knowledge of Yáñez de la Almedina's work. Gómez Frechina points to the stylistic similarity between the head of Saint Isabella and that of the Virgin in Soreda's panel of "Saint Thomas receiving the cincture of the Virgin" in the monastery of Santa María de Huerta (Soria). The first historiographical account of Juan Soreda's pictorial activity dates from 1899 when Manuel Pérez Villamil published an account of this painter - albeit under the incorrect name of Juan Pereda - in his publication "Estudios de Historia y Arte: la catedral de Sigüenza, erigida en el siglo XII" ("Studies in History and Art: Sigüenza Cathedral, erected in the 12th century"). Soreda was active in an important workshop in the diocese of Sigüenza and at the end of his life lived in El Burgo de Osma, where a Virgin and Child of his is preserved in the cathedral museum of the cathedral in Oaxaca. Soreda's pictorial universe reveals links with the work of Juan de Borgoña and Hispano-Flemish painting in Toledo, a certain knowledge of the new pictorial innovations from Italy, the analysis of works by Fernando Yáñez de la Almedina and the use of Raphaelesque prints in some of his compositions. The patronage of Bishop Fadrique de Portugal in Sigüenza was evident in the altarpiece of Santa Librada de Soreda, who undertook his pictorial work without previous iconographic testimonies with passages from the life of the Hispanic saint. Other works attributed to Juan Soreda include a Virgin and Child in the cathedral museum in El Burgo de Osma, an early Virgin and Child in the Musée des Beaux-Arts in Dijon, several paintings in the main altarpiece of the parish church of San Pelayo in Olivares de Duero, three paintings in the monastery of Santa María de Huerta (Soria), and the Prophets and Sibyls in Santa María del Rey in Atienza. The present panel of the Virgin and Child, Saint Elizabeth and Saint John the Baptist is the most recent and important addition to the Soredian corpus in terms of its quality and beauty. His work has been highlighted in recent decades, based on exhumed archival documentation, revealing one of the most interesting artists of the Renaissance in Spain, says Frechina.

      Setdart Auction House
    • Juan SOREDA
      Jun. 24, 2004

      Juan SOREDA

      Est: €4,000 - €6,000

      (Actif en Castille de 1520-1521 à 1546-1549 environ) Saint Christophe et saint Nicolas de Bari Panneau de noyer, une planche, non parqueté, fragment 27 x 25,5 cm Petits manques Sans cadre Debout et vus aux trois-quarts, les deux saints se détachent sur le fond noir du panneau et sont reconnaissables à leurs attributs : saint Christophe porte l'enfant Jésus sur ses épaules et saint Nicolas arbore les insignes épiscopaux, bénit les enfants qu'il a sauvés de la mort et qui apparaissent en prière en bas du panneau. A la gauche de saint Nicolas devait se trouver un saint Pierre dont on voit encore une clé. Un moment confondu avec Juan de Pereda, Juan Soreda portant un nom catalan ou valencien a dû se former dans cette région au contact de Pablo de San Leocadio, Osona et Yanez (cf. A. Avila, "Juan Soreda y no Juan de Pereda" in Archivo Español de Arte, 52, 1979 pp. 405-24 et idem, "El pintor Juan Soreda, estudio de su obra" in Goya 1979, n° 153, pp. 136-145) dont on retrouve l'influence dans ses oeuvres castillanes de Burgo de Osma et Soria où il vient travailler dans les deux premières décennies du XVIe siècle. On lui attribue la plupart des panneaux du retable de la collégiale de Bolea (Huesca) oeuvre de jeunesse où se reflète l'emprise du castillan Juan de Borgoña (cf. A. Padron Merida, "El retablo de Bolea y sus autores" in Goya, 1994, nos 241-242, pp. 22-31). Il subit une influence italienne des grands artistes de cette époque : Raphaël, Léonard de Vinci et Michel-Ange dont il a pu connaître les oeuvres peut-être lors de séjours antérieurs en Italie mais surtout par l'entremise de gravures qui lui permettent de découvrir également l'art nordique de Dürer. En 1520-21 et 1523 son nom apparaît dans les comptes de la fabrique de la cathédrale de Sigüenza (Guadalajara) où il réalise en 1526-28 le retable de la chapelle de Santa Librada, dans lequel l'influence de Raphaël se fait nettement sentir (cf. La Pintura Espagnola, Milan 1995, vol. I pp. 212-213 repr.). Dans le retable de l'église paroissiale d'Olivares del Duero (Valladolid), que l'on peut situer vers 1532-40, il tourne ses regards vers l'art de Michel-Ange en introduisant l'animation, la puissance et le goût de la reproduction des nus particulièrement sensible dans la scène du Martyre de saint Pélage. C'est à cette époque que nous pouvons situer l'exécution de notre panneau dont le saint Christophe rappelle le bourreau de gauche étreignant saint Pélage (cf. Vlaanderen en Castilla y Leon, catalogue exposition Cathédrale d'Anvers, 1995, pp. 498-499 repr. Et J. J Martin Gonzalez "El retablo mayor de la iglesia parroquial de Olivares del Duero" et "Actualidad del retablo mayor de Olivares del Duero" in Boletin del Seminario de Arte y Arqueologia, respectivement vol. XX, 1953-54 p. 31 sq. et vol. LIII, 1987, pp. 372-374 repr.). Le mouvement enlevé des draperies, la force vitale des protagonistes, leur puissance corporelle dont la musculature est fortement accusée par l'incidence lumineuse et leurs traits physionomiques respectifs permettent son identification. Dans l'attitude sereine de saint Nicolas dont la sollicitude envers les enfants qu'il bénit contraste avec la description de son voisin, Juan Soreda tempère son style : cependant la typologie du visage du saint évêque, son attitude et l'attention aux matières précieuses de ses vêtements rappellent ces mêmes caractères dans le Saint Grégoire bénissant du retable d'Olivares del Duero. Dans l'état actuel de nos connaissances, il est malheureusement impossible de relier ce panneau à une oeuvre de Soreda connue.

      Tajan
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