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拍品专文
COMPARATIVE LITERATURE:
S. Stratton, ed., Spanish Polychrome Sculpture 1500-1800 in United States Collections, exhibition catalogue, New York, 1994, pp. 138-139, no. 30.
This bust is comparable to an 18th century (Murcia or Naples) bust of Saint Teresa of Avila in the Davis Museum, Wellesley College (Wellesley, Massachusetts) and attributed to Francisco Salzillo (1708-1783). The Davis bust possesses a similarly rounded face with full lips, and is dressed in an analogous Carmelite habit. Both figures direct their gaze heavenward with furrowed brows and wear nearly identical wimples of starched woven fabric. There are minor differences. Whereas the Davis statue opens her arms in a welcoming gesture, the present figure moves her left arm toward her body, perhaps in supplication. Also, the Salander bust was not carved with a detachable section of drapery covering her heart. Nevertheless, an identification as the Spanish saint is possible. In both examples, Teresa opens her mouth to reveal white teeth and a sensual pink tongue, signifying her ecstatic condition. Her habit is entirely decorated with fine, gilded estofabo patterns that are characteristic of Spanish sculpture from this period.
Saint Teresa of Avila was a 16th century Spanish mystic and Carmelite reformer. She was canonized in 1622, and her spiritual writings enjoyed tremendous popularity throughout Europe. The present sculpture represents the beautiful holy woman in a moment of religious ecstasy, possibly brought about by the transverberation, a miraculous episode in the saint's life in which an angel appeared before her and repeatedly pierced her heart with a fiery arrow, leaving her full of passion and love for the Lord.
S. Stratton, ed., Spanish Polychrome Sculpture 1500-1800 in United States Collections, exhibition catalogue, New York, 1994, pp. 138-139, no. 30.
This bust is comparable to an 18th century (Murcia or Naples) bust of Saint Teresa of Avila in the Davis Museum, Wellesley College (Wellesley, Massachusetts) and attributed to Francisco Salzillo (1708-1783). The Davis bust possesses a similarly rounded face with full lips, and is dressed in an analogous Carmelite habit. Both figures direct their gaze heavenward with furrowed brows and wear nearly identical wimples of starched woven fabric. There are minor differences. Whereas the Davis statue opens her arms in a welcoming gesture, the present figure moves her left arm toward her body, perhaps in supplication. Also, the Salander bust was not carved with a detachable section of drapery covering her heart. Nevertheless, an identification as the Spanish saint is possible. In both examples, Teresa opens her mouth to reveal white teeth and a sensual pink tongue, signifying her ecstatic condition. Her habit is entirely decorated with fine, gilded estofabo patterns that are characteristic of Spanish sculpture from this period.
Saint Teresa of Avila was a 16th century Spanish mystic and Carmelite reformer. She was canonized in 1622, and her spiritual writings enjoyed tremendous popularity throughout Europe. The present sculpture represents the beautiful holy woman in a moment of religious ecstasy, possibly brought about by the transverberation, a miraculous episode in the saint's life in which an angel appeared before her and repeatedly pierced her heart with a fiery arrow, leaving her full of passion and love for the Lord.