Close Looking Art Analysis of Luisa Roldán and Alonso Cano

Close Looking Analysis of Luisa Roldán and Alonso Cano  

The sculpture "The Education of the Virgin" by Luisa Roldán and the painting "The Education of the Virgin" by Alonso Cano show different but complementary approaches to the Baroque theme. With realistic human connection, Cano's oil painting, distinguished by its dynamic composition and striking chiaroscuro, skillfully captures the emotional intensity of the Virgin Mary's upbringing. Roldán, on the other hand, captured the scene in a timeless contemplative mood in his polychromed wood sculpture, offering a tactile and tranquil interpretation. Roldán's sculptures are imbued with a sense of divine grace and spiritual significance, whereas Cano's sculptures are distinguished by their humanity and emotional depth. By showcasing the various ways Baroque painters investigated religious devotion and imagery, these pieces collectively deepen our understanding of this important era in art history. 

Upon closer look at Cano’s painting, I noted that the art depicts a simple scene limited to the two figures, the virgin and Saint Anne, in a majestic architectural setting with a column in the background and a large red curtain, symbol of the royalty Mary. The elegant, Renaissance style balustrade of wrought iron and gilt bronze terminates on the right with a pilaster topped by a large ball of red jasper (Google, n.d). The figures of the mother and child, depicted with grave, meditative expressions, are located on a rug with an Arabic pattern.  Through the art, the Baroque style is best represented from 1650, which is well-known for its dynamic composition and dramatic use of light and shadow. The image shows the Virgin Mary being taught by Saint Anne as a little child looks on possibly her cousin and future prophet John the Baptist. Mary and Saint Anne are at the center of the image, drawing the viewer's attention with their well-placed figures. By illuminating some regions and creating deep shadows, Cano employs chiaroscuro to heighten the drama and the scene's emotional impact. Naturalistic features, such as the characters' flowing clothing and subtle facial expressions, give them a more lively and dynamic appearance. 

Similarly, even though this idea was not officially recognized as doctrine until 1854, the red and yellow tones of Saint Anne's clothing contrast with those of the Virgin, who is clothed in blue and white, the colors of the Immaculate Conception. The canvas was created during Cano's last years in Granada, which was approximately 1655, yet the delicate brushwork and striking tonal contrasts are reminiscent of his time spent working with Velazquez in Madrid (Google, n.d). Hand gestures are used to communicate the ideas of mediation. Saint Anne just gestures to the pages, and the Virgin lays a firm palm over them, as though she already understands and accepts the text without needing to read it.   

In close looking of art Luisa Roldán, I learned that it depicts elder St. Anne tenderly teaching her young daughter, the Virgin Mary, to read scripture. The piece, with the bible turned to face the engrossed toddler, highlights Mary's early devotion to religious learning. Written in the early 1680s, the personal composition also focuses on female intellect, notably female literacy, which was a rare quality that was only available to a limited portion of the population at the time. But the passing down of expertise through families was not unusual, and Luisa Roldán, the most important female sculptor of the seventeenth century in Spain, was no exception (New acquisition: Luisa Roldán’s “The education of the virgin.” Unframed, 2019). Roldán's 1680s sculpture offers a more intimate and tactile interpretation of the same subject matter. The sculpture, crafted from polychromed wood, encourages viewers to scrutinize its materiality and three-dimensional form, thereby fostering a close-up experience. Unlike Cano's painting which captures a fleeting moment in time, Roldán's sculpture preserves the scene in perpetuity, allowing viewers to contemplate the serene expressions and complex details of the figures. The sculpture's vibrancy is enhanced by the polychrome finish, which adds subtle color variations to the figures' flesh and clothing realism. 

Comparatively, both artworks explore the Virgin Mary's education, but they are interpreted differently through different artistic mediums and techniques. Cano's painting uses light and shadow to convey depth and emotion, while Roldán's sculpture uses texture and color for tactile realism. Together, these artworks showcase the religious fervor and devotion of the Baroque period, prompting viewers to contemplate the spiritual significance of the depicted scenes. Additionally, Cano's painting highlights the human aspect of the Virgin Mary's upbringing, portraying her as a relatable figure undergoing education under her mother's guidance. Saint Anne's maternal warmth and affection are reflected in the scene, while John the Baptist's presence signifies his future role as a herald of Christ. On the contrary, Roldán's sculpture embodies a profound sense of divine grace and transcendence, with the figures depicted in a state of serene contemplation.  Mary and Saint Anne are depicted with idealized features and ethereal expressions, highlighting their spiritual significance in Christian theology. 

In conclusion, the artworks "The Education of the Virgin" by Luisa Roldán and Alonso Cano showcase distinct yet complementary approaches to the Baroque theme. Cano's oil painting, characterized by dynamic composition and chiaroscuro, effectively conveys the emotional depth of Mary's upbringing in a relatable human context. Conversely, Roldán's polychromed wood sculpture is a timeless and contemplative piece that emphasizes divine grace and spiritual significance. Cano's sculpture explores Mary's human education, while Roldán's sculpture evokes transcendence and serenity. Thus, these masterpieces enhance our comprehension of Baroque religious devotion and imagery, showcasing the artistic depth of the era and encouraging contemplation of their spiritual significance. 

Option Object 1: 

Alonso Cano, The Education of the Virgin

 (https://www.fundacionbancosantander.com/en/culture/art/banco-santander-collection/theeducation-of-the-virgin) , c. 1650. Oil on canvas, 203 x 145 cm. Fundación Banco Santander, Madrid. 

Option Object 2:

 Luisa Roldán, The Education of the Virgin (https://collections.lacma.org/node/2288293) *, 1680s. Polychromed wood sculpture, 76 x 63 x 43 cm. Los Angeles County Museum of Art, Los Angeles. 

References 

Google. (n.d.). The education of the virgin - Alonso Cano - Google Arts & culture. Google. https://artsandculture.google.com/asset/CwE8hTKhO6Ebmw?hl=fr New acquisition: Luisa Roldán’s “The education of the virgin.” 

Unframed. (2019a, April 16). https://unframed.lacma.org/2019/04/16/new-acquisition-luisa-rold%C3%A1ns-education-virgin