Pedro De Orrente (murcia, 1580 - Valencia, 1642), Wedding Of Cana

Pedro de Orrente (Murcia, 1580 - Valencia, 1642)
Wedding of Cana
Oil on canvas, 102 x 142

The painting in question represents the Wedding of Cana, which according to the Gospel of John is the moment when Jesus performs his first miracle. «Three days later, there was a wedding in Cana of Galilee and there was the mother of Jesus. He was invited to the wedding with his disciples. Meanwhile, when the wine ran out, Jesus' mother said to him: «They have no more wine». [... ] There were six stone jars for the purification of the Jews, each containing two or three barrels. And Jesus said to them, «Fill the jars with water»; and they filled them up to the brim. He said again: «Now take them up and bring them to the master of the table». And they brought it to him. [... ]. Thus did Jesus begin his miracles at Cana of Galilee, and he manifested his glory, and his disciples believed in him.

The work is a precise take of the model made by Pedro de Orrente (1580-1642), son of Jaime de Horrente, a merchant from Marseille who settled in Murcia in 1573. Juan de Arizmendi, a painter of whom we do not know anything else, was perhaps the first person responsible for his training before leaving Murcia. In 1600 Pedro was already in Toledo where he contracted, "free and out of care", the altarpiece of the Virgen del Saz in the city of Guadarrama (Madrid), work that has not been preserved. No further news of him until 1604, when a certain Jerónimo de Castro committed to pay the painter’s father in Murcia for a San Vidal that Orrente had painted for him. It follows that Pedro was absent because perhaps engaged in the trip to Italy that puts him in contact with the painters of Venice, especially with the Bassano.
In 1612, he made the Blessing of Jacob from the collection Contini, already completely bassanesca works, as well as giving the power to Angelo Nardi to withdraw on his behalf a canvas that had painted for a silversmith of Madrid, This implies the existence of a friendship with the Italian painter. The debts of Venetian painting are well evident in the painting under examination, look at certain details, such as the presence of a dog symbol of marital fidelity that often appears in the artistic production Veneta of the sixteenth century, from the family of Bassano to Titian, Veronese and Tintoretto. As comparable with the Venetian is the insertion of the scene, full of characters well characterized in faces, gestures and movements, within architectural scenes of undoubted classical taste. Orente has certainly come into direct contact with the painting of Jacopo Bassano, from which he retakes tenebrism, and other Venetian masters during his trip to Italy. But we also remember the close relations between sixteenth-century Spain and the Venetian painters often called to the court of Charles V and his son Philip II which have aroused a strong interest in Venetian artists, including Pedro de Orente.

The object is in good condition

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