Жития Богородица и св. Франциска, или Иконостас Ла Банеза {2667} Lifestory of the Virgin and St Francis, or Altarpiece of La Baneza
история:
In 1434 it is recorded that he had completed the retable for the high altar of Leon Cathedral.
This altarpiece comes from the chapel of a farm near La Baneza (Leon), called Estepa de las Delicias. Its previous history is unknown though, given its size, researchers are inclined to think that it was painted for a more relevant church.
The work was bought - in two lots - for Museo del Prado in 1930 and 1932.
This altarpiece consists of a predella, three main vertical panels, each of them formed by three horizontal bodies, and the attic.
автор:
Францес Н.
Nicolas Frances
история:
Никола Францес ( - 1468)
перемещение:
Лион (Фр.): собор (1434 - )
Leon: cathedral
часовня Estepa de las Delicias, near La Baneza (Leon) ( - )
chapel Estepa de las Delicias of a farm near La Baneza (Leon)
Мадрид: музей Прадо
Madrid: museo del Prado
композиция:
навершие
attic
композиция:
Голгофа
The Calvary
панель левая
the left panel
композиция:
Св. Франциск Асисский
St Francis of Asis
панель центральная
the centre panel
композиция:
Богородица и Младенец на троне с музицирующими ангелами
Virgin and Child enthroned among angelic musicians
Вознесение Богородицы
Assumption of the Virgin
панель правая
the right panel
композиция:
Благовещение
Annunciation
Рождество
Nativity
Очищение
Purification
пределла
predella
композиция:
The predella is constituted by 17 small panels depicting apostles and prophets holding books or rolls.
The gilded decoration of the structure is composed by ogee arches that embellish the ensemble.
оформление:
1434.
Tempera on panel.
5580х5570 (except the attic).
This altarpiece shows Nicolas Frances' skill in a clear Italian influenced spatial composition, the side panels having been unified to provide the scenes with a larger environment.
In some of these panels different landscapes are depicted and the space has been partitioned by architectural elements.
There is a concern for the correct use of perspective, but without success, and this endows the whole story with a certain ingenuousness.
The slender figures, the fresh and lively colouring and the taste for anecdote confer the scenes a superb warmth.
This work can be framed within the International Gothic style with certain Italianate nuances.
