Old Master Paintings & Spanish Colonial Art
Lote 188:
Oil on canvas, framed measurements: 120 x 105 cm. Canvas measures: 106 x 81 cm. Son of a Flemish military engineer established in Seville, in 1653 he married a sister-in-law of the sculptor José de Arce, who acted as his guarantor in the painter examination letter approved on January 8, 1654 by Sebastián de Llanos y Valdés and Francisco Terrón . Only a year later he received the first of a long list of apprentices who, to a large extent, were to be directed towards the gilding and polychrome of baroque altarpieces, a task that he himself must have carried out in the service of his brother-in-law. Already in the year 1660 he was counted among the founders of the Academy established by Sevillian painters in the Lonja house, holding the position of prosecutor. In 1666 he was elected consul of the institution and in 1670 president, re-elected four years later, Being, according to Ceán Bermúdez, one of those who most generously contributed to its support, paying the model’s salary out of his pocket on many occasions and offering prizes to apprentices. On September 18, 1685, after a long illness, he dictated his will, declaring himself solemnly poor. Cornelis Shut III addressed various genres, including still life, and whose main recipients were private clients and in some cases merchants, which explains the dispersion of his work, with copies preserved in Elorrio (Vizcaya) and Álava (Inmaculada de la Iglesia Antoñana parish). This would also explain why, according to Ceán Bermúdez, there were many in his time the works preserved in Seville in private hands, while only one public one was known, which was an Immaculate Conception, already cited by Palomino, placed in an altarpiece in the Puerta de Carmona. Like so many other Spanish painters, Schut must have addressed this issue on numerous occasions, attributing to him, among others, the copies of the church of San Isidoro in Seville and of Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville. with a strong Zurbaran accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut el Joven», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Background and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. Attributing to him, among others, the copies of the church of San Isidoro in Seville and Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville with a strong Zurbaraneque accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut el Joven», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Background and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. Attributing to him, among others, the copies of the church of San Isidoro in Seville and Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville with a strong Zurbaraneque accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut el Joven», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Background and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. «New works by Cornelio Schut the Younger», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Background and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. «New works by Cornelio Schut the Younger», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Background and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982.
