Sevillian School, Circle of MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703); XVII century."Annunciation of the Virgin".Oil on canvas. Relined.Presents restorations.Measurements: 42 x 56,5 cm.In this work we see an Annunciation typical of the full Spanish baroque, with a scenographic and triumphalist composition, clearly counter-reformist, where the celestial and the earthly plane are united in only one. The scene is set in an austere interior meticulously described, as befits the desire for truth and reality of baroque painting. We see Mary in the foreground, kneeling before a lectern, on which rests a small book. The space, in which we can also see the vase with lilies symbolizing Mary's purity, is built in depth following the laws of perspective. The heavenly area, represented by thick clouds flooded with clear divine light, bursts into the earthly scene, although the angel does not reach the ground. Between Mary and the angel, we see the Holy Spirit in the form of a dove... Painter and engraver of the Spanish Baroque, attached to the Sevillian school, MatÃas de Arteaga y Alfaro knew how to collect and interpret with his own personality the double influence of Murillo and Valdés Leal. Son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he would be trained in his father's workshop and in contact with Murillo, whose influence reveals his early work along with that of Valdés Leal, who settled in Seville the same year that Arteaga passed the master painter's exam, in 1656. In 1660 he was among the founding members of the famous drawing academy promoted by Murillo, among others, of which he served as secretary between that date and 1673. In 1664 he joined the Brotherhood of the Holy Charity and two years later in the Sacramental of the Sagrario of the Sevillian cathedral, for which he did some works. Around 1680 there is also evidence of his work as an appraiser of paintings. He died in 1703, the inventory of the goods left at his death reveals a well-to-do way of life, having a slave and a large and well-furnished house, which had a medium-sized library with important books in Latin and Spanish and an engraving studio, as well as more than one hundred and fifty paintings, almost half of them of religious subject matter. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those we see in this work and in those preserved in the Museum of Fine Arts in Seville. The most characteristic of his peculiar style are precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skillful in the creation of these deep perspectives, skillfully illuminated, however, in the treatment of the figures and their bodily expressions he tends to develop with a certain clumsiness. Arteaga is represented in the aforementioned museum in Seville, various Sevillian temples including the cathedral and the Lazaro Galdiano Museum, among others.