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Obras comentadas: La Virgen y las ánimas del Purgatorio, Pedro Machuca

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Published on Sep 15, 2010

Explicación de la obra La Virgen y las ánimas del Purgatorio de Pedro Machuca a cargo de Leticia Ruiz, Jefe de Departamento de Pintura Española hasta 1700 del Museo Nacional del Prado, dentro del programa educativo El Prado habla, actividad que se celebra cada viernes a las 12h en la que profesionales del Museo comentan una de las obras de la colección.

María, ayudada por Jesús, alivia el dolor de las almas del purgatorio al apagar las llamas con la leche que mana de sus senos. Realizada por Machuca durante su estancia en Italia -donde se ha adquirido esta tabla-, es pieza clave para conocer cómo transcurre su formación. Su interés por los efectos de luz, que intensifican el drama en la composición, es un claro eco de su estancia en Roma y de su paso por el taller de Rafael a partir de 1515-1516. Influido por Leonardo, al que debe la compleja actitud de sus figuras, tampoco es ajeno al arte de Miguel Ángel, al que remiten sus formas amplias y los dos ángeles que sostienen un dosel sobre la cabeza de la Virgen.




THE VIRGIN AND THE SOULS OF PURGATORY, PEDRO MACHUCA

Explanation of the work The Virgin and the souls in Purgatory of Pedro Machuca by Leticia Ruiz, Head of the Department of Spanish Painting up to 1700 from the Museo Nacional del Prado, in the educational program Prado Talks, an activity that takes place every Friday at 12pm in which Museum professionals comment on one of the works in the collection.

With the help of Jesus, Mary assuages the pain of the souls in Purgatory by putting out the flames with the milk flowing from her breasts. Painted by Machuca during his stay in Italy, this piece is fundamental for understanding his training. The effects of light intensify the composition's drama, and that was something he learned in Rome, especially after his stay at Raphael's workshop beginning in 1515-1516. The complex postures of his figures show the influence of Leonardo, but Machuca was also aware of the work of Michelangelo, to whom he owes the broad forms and the two angels that hold a canopy over the Virgin's head.

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