Beauty. Faith. Tradition. Modernity. The Christ of the Most Precious Blood, head of the Murcian brotherhood of the ‘coloraos’ and the work of the sculptor Nicolás de Bussy, is in the National Sculpture Museum of Valladolid to be exhibited together with the impressive work ‘La Fuente’, contemporary version of the Christ of Bussy made by Santiago Ydáñez from Jaén. The exhibition, inaugurated this Thursday and which can be enjoyed until July 16, is entitled ‘Intersectio. Ydáñez/Bussy’.
An exhibition that generates dialogues between the contemporary and the baroque and where there is a crossroads between Ydáñez –retired at the Royal Academy of Spain in Rome between 2016 and 2017– and the Renaissance and Baroque masters present in the museum’s collection Valladolid state.
This exercise in the coexistence of images, which separates the permanent collection from the routine look and contagion of the present time, launches, at the same time, a deep reflection on the baroque, on the cult image and aesthetics, on the relationships between matter, form and iconography.
The exhibition, in which the revered Murcian image is key, can be visited until July 16
And the highlight of the exhibition is the confrontation of a Christ in polychrome wood, ‘La Fuente’, with a benchmark of Hispanic Baroque sculpture such as the Cristo de la Sangre by Fray Nicolás de Bussy, from the Iglesia del Carmen in Murcia. ; It is the second time that this sculptural jewel has left Murcia.
The curator of the exhibition, Javier Andrés, explains that it is made up of eleven pieces exhibited in seven rooms of a museum that “is a source of inspiration for contemporary artists.” Andrés highlights “that tremendous dialogue” between Ydáñez’s sculpture of his Christ ‘La Fuente’ with that of Bussy (from 1693 and rebuilt in 1940). A Christ who is a highly venerated image in Murcia and who has been «generously lent by the Archconfraternity of the Most Precious Blood. For his part, Ydáñez explains that in his version of this Cristo de la Sangre he dispenses with the cross and breaks the usual compositional schemes in the representation of Christ, «inclining his body to let the blood fall from his wounds on the chalice”.
He has recognized that the original image of Bussy struck him the first time he saw it and, precisely, “the fascination” that Bussy’s work exerted on him motivated him to create a sculpture in which physical balance is combined with “an allegory of the static and immutable.
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