Acceso usuarios
Juan Luis Ravé Prieto
Presentamos la pintura de la Santísima Trinidad de la fundación Unicaja como obra de Francisco de Herrera el Viejo, hasta ahora clasificada como anónima. Al analizar tanto sus aportaciones estéticas y recursos estilísticos, propios del pintor en su etapa juvenil, como los restos conservados de la firma del autor, se confirma como pintura autógrafa. Se estudian las estampas flamencas contrarreformistas en que se inspiraría y su repercusión en la pintura sevillana del momento.
Se acredita, por tanto, como pintura indispensable para analizar la fase menos conocida de la obra de este gran maestro, al señalar e identificar un momento clave en la evolución estilística de Herrera entre su pintura juvenil y la primera madurez.
We present the painting of the Holy Trinity of the Unicaja Foundation as a work by Francisco de Herrera el Viejo, until now classified as anonymous. By analyzing both its aesthetic contributions and stylistic resources, typical of the painter in his youth, as well as the preserved remains of the author’s signature, it is confirmed as an autograph painting. We study the Flemish counter-reformist prints that probably inspired it and its repercussion in the Sevillian painting at the time. It is accredited, therefore, as an indispensable painting to analyze the less known period of the work of this great master, by pointing out and identifying a key moment in the stylistic evolution of Herrera between his youthful painting and his early maturity.
