Spanish mannerist school; first half of the 16th century. Assumption of the Virgin. Oil on

Spanish mannerist school; first half of the 16th century.
"Assumption of the Virgin".
Oil on panel.
It has flaws, slight cracks in the wood and loss of the upper frame ribbon.
Measurements: 61 x 55 cm; 69 x 63 cm (frame).
The expression Assumption is significant: it is opposed to the Ascension, as the passive to the active. That is, Mary does not ascend to heaven by her own means, like Christ, but is elevated to Paradise by the angels. Byzantine art represents the Assumption of the Virgin's soul, collected by Christ on his deathbed. On the other hand, Western art depicts her bodily Assumption outside the tomb where the apostles had buried her. Therefore, a distinction must be made in iconography between the Assumption of the Virgin's soul in the form of a child and the Assumption of her glorious body, the latter being the one represented here. The European model presents Mary as we see in this work: in a prayerful attitude, raising her joined hands and surrounded by golden light, carried by angels and leaving the open tomb at her feet, which may appear empty or full of lilies and roses.This is a painting of devotional character, since the attention is focused on the figure of the Virgin and not on the episode itself represented, the Assumption. In fact, all narrative elements are eliminated, and the composition acquires a clear decorative sense, with the angels surrounding Mary like a garland of flowers. Mary appears full-length, in a typically Mannerist "contraposto" position, with the body turning on itself in an ascending and twisting posture that, in a way, advances Baroque forms. However, her figure is closed, still classical, with her arms folded over her chest and her hands joined in a prayerful position, in addition to the folds of the drapery falling almost completely vertically, with hardly any flight. In addition, Mary's face appears turned and slightly inclined, reflecting humility and piety and compensating the ascending sense of the image, in a subtle and very thoughtful way, typically mannerist. Due to the technical characteristics, such as the modeling of the forms, the tonalities used, the type of composition, and even the aesthetic details used in the treatment of the fabrics that make up the scene, this work can be inscribed within the mannerist school.