Valencian School; around 1600."Virgin with Child"Oil on canvas.Has a tear in the canvas.It has a frame following old models.Measures: 151 x 105 cm; 175 x 117 cm (frame)A look of tenderness between the Virgin and the Child defines the intensity of the scene, in which the author seeks to move the faithful through the maternal filial relationship of both characters. They are in a highly decorated interior, which has a certain theatricality. In this space the throne is arranged, which is framed by the presence of white lilies, the flower of the virgin, as a bouquet, located on each of the sides. It is worth noting the rigidity of the space in contrast with the movement of the fabrics of the Virgin's mantle. Regarding the tonalities, the author has used a dark palette of ochre and greenish tones, on which the glow of the faces of the Virgin and Child stand out. It is a work that follows aesthetic patterns close to the work of Scipione Pulzone.Scipione Pulzone began his artistic training as a student of Jacopino del Conte, although he soon preferred to take as references for his art personalities such as Girolamo Muziano or Siciolante. His taste for descriptive effects led him to study Flemish and Venetian models, from which he extracted a rich palette of colors. However, it was in Raphael where he found his greatest influence reflected in the use of defined contours and schematic clarity. His art recalls above all the earliest Raphael, the one that refers us to the style of a Perugino or a Domenico Ghirlandaio. That is why his art is largely revisionist, since his sources are not to be found in his immediate predecessors, but in the great masters of the late Quattrocento. In 1584 Pulzone traveled to Naples and Florence. In the latter city he came into contact with local artists of a similar sensibility to his own. Pulzone is the archetype of counter-mannerist art. He was primarily a portrait painter and his works submissively followed the dictates of the Roman Church: he tried to transmit simple emotions, within the reach of the simplest of spectators, with a didactic intention and sometimes with an almost artisanal air, which prioritizes art as a vehicle to convey an idea, in this case of a religious type, rather than seeking beauty, the artist's own showcasing or the assumption of artistic challenges.