03 — ARTWORK
Madonna with Music-Making Angels
- MEDIUM
- Wood, 189 x 134 cm
- TYPE
- Religious
PALETTE
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- FILE
- 649 × 950 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Pere (Pedro) García, who came from Benabarra in Huesca, was active in Barcelona around 1455 and in Lérida around 1460. He is also mentioned in records dated 1479, but the date of this particular painting has been erased by time. His pictures display a felicitous blend of Flemish and Italian influences.
His Madonna with Music-Making Angels is a worthy successor of Pere Serra's composition of similar theme which, in Pere García's time, was the central panelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. of the altar in Tortosa CathedralThe principal church of a province or diocese, where the throne of the bishop is placed. For reasons lost to time and tradition, a cathedral always faces west - toward the setting sun. The altar is placed at the east end. The main body, or nave, of the cathedral is usually divided into one main and two side aisles. These lead up to the north and south transepts, or arms of the cross, the shape in which a cathedral is usually formed.. Representations of the Virgin and Child in the company of music-making angels were very popular at that time; in these two paintings even the fabric of the garments and the shape of the seat of the throne were similar. In fifteenth-century pictures the artist frequently introduced an area of floor with an ornate, chequered pattern, for this gave him a chance to show his craftsmanship. In paintings by the less talented artists the floor was usually depicted as if viewed from above but in Pere García's picture we can already perceive the Flemish influence at work; the painting reveals a degree of proficiency in the application of central perspectivea scientific and mathematical method of three-dimensional representation developed by Filippo Brunelleschi (1376 -1446) at the beginning of the 15th century. Relative to the observer, all the converging lines lead toward a single vanishing point at the centre of the composition. An illusion of depth is created on two-dimensional picture surfaces by precise foreshortening and proportioning of the objects, landscapes, buildings and figures that are being depicted, in accordance with their distance from the observer. - a knowledge gained from Dalmau.
CITE THIS RECORD — BIBTEX
@online{wga-rc3f7ed7f688b02,
author = {Krén, Emil and Marx, Daniel},
title = {Madonna with Music-Making Angels by GARCIA, Pere},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/garcia-pere-r09f030c7f9e5d7/madonna-with-music-making-angels-rc3f7ed7f688b02},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY PERE GARCIA
The archive catalogues no further works by this artist.
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