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19 In fact, based on overall expression and treatment of the El pintor Fray Juan Sánchez Cotán cit., pp. 177, 227–228,
hair and eyebrows, and the shroud, we can also add to the 239, 306 and 362.
brothers’ oeuvre a sculpture of the Martyrdom of Saint
Andrew belonging to the Count of the Infantas 23 See JORDAN, La Imitación de la Naturaleza cit., p. 17,
(polychromed terracotta, height: 26 cm). Orozco Díaz fig. 5; OROZCO DÍAZ, El pintor Fray Juan Sánchez Cotán
reproduced this work in his catalogue, comparing it cit., pp. 304–305, 307.
technically to the brothers’ various versions of Ecce Homo.
24 OROZCO DÍAZ, El pintor Fray Juan Sánchez Cotán cit.,
20 For an in-depth discussion of Sánchez Cotán and Maíno pp. 319–320.
as landscape pianters, see A. E. PÉREZ SÁNCHEZ, Caravaggio
y el naturalismo español, exhibition catalogue, Los Reales 25 The pictures, which are conserved in a private collection
Alcázares de Sevilla, Seville, organized under the auspices of in Madrid and in Malaga Cathedral, measure respectively
the Ministery of Education and Science, Madrid 1973; E. 20 x 15 cm, and 22.5 x 17.5 cm.
OROZCO DÍAZ, El pintor Fray Juan Sánchez Cotán,
Universidad-Diputación, Granada 1993; and A. E. PÉREZ 26 PÉREZ SÁNCHEZ, ‘Sobre San Juan Bautista Maíno’ cit., p.
SÁNCHEZ, ‘Sobre San Juan Bautista Maíno’, in Archivo 122. In her examination of Maíno, Enriquetta Harris related
Español de Arte, no. 278, 1997, pp. 113–125. the landscape in the Madrid copper to Caravaggio, citing his
versions of The Rest on the Flight into Egypt (c. 1597,
21 See A. BEVILACQUA, Correggio: L’opera completa, Milan Rome, Galleria Doria Pamphiji) and his many versions of
1970, nos. 20 and 80, illus.; G. PIOVENE, Veronese: L’opera Saint John the Baptist in the Desert. While Caravaggio
completa, Milan 1968, nos. 56 and 124, illus. See also The included a landscape in the former subject, in his versions of
Age of Caravaggio, New York 1985, no. 85, p. 300 (Nelson the latter subject, any landscape was employed only in the
Atkins Museum, Kansas City) and Caravaggio e l’Europa, barest terms. See E. HARRIS, ‘Aportaciones para el estudio de
Milan and Vienna 2006, no. 14, p. 174 (Galleria Borghese, Juan Bautista Maíno’, in Revista Española de Arte, 1935,
Rome). pp. 337–338.
22 See W. JORDAN, La Imitación de la Naturaleza: Los 27 A. PÉREZ SÁNCHEZ, Caravaggio y el naturalismo español,
bodegones de Sánchez Cotán, exhibition catalogue, Museo exhibition catalogue, Los Reales Alcázares de Sevilla,
del Prado, Madrid 1992, p. 17, figs. 4–5; and OROZCO DÍAZ, organized under the auspices of the Ministry of Education
and Science, Seville 1973.
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