Madrid School of the 17th century. "Christ of Medinaceli". Oil on canvas. Frame ca. 1800. Measurements: 67 x 95 cm; 94 x 124 cm (frame). The iconography of the Christ of Medinaceli (also known as Jesús Nazareno Rescatado or El Señor de Madrid) evokes the moment of the Passion when Pontius Pilate presents him to the people. This canvas, like the great majority of works of this iconography, is taken from the sculpture of the Christ of Medinaceli located in the Basilica of Our Father Jesus of Medinaceli in Madrid. Although the author of this carving is unknown, it is thought that it may belong to the Sevillian school of the Cordovan Juan de Mesa. The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based next to the royals. This allowed and favoured a stylistic unity, even though there were the logical divergences due to the personalities of the members. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This was an awakening of the nationalist conscience as it allowed a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism. This was the first step taken by the school, which gradually progressed towards a more autochthonous Baroque language linked to the political, religious and cultural conceptions of the Habsburg monarchy, before dying out with the first outbreaks of Rococo in the work of the last of its representatives, A. Palomino. The techniques most commonly used by these painters were oil and fresco. Stylistically, the starting point was naturalism with a notable capacity for synthesis, leading in due course to the allegorical and formal complexity characteristic of the decorative Baroque. These artists showed a great concern for the study of light and colour, as we can see here, initially emphasising the interplay between extreme tones characteristic of tenebrism, which were later replaced by a more exalted and luminous colouring. They received and assimilated Italian, Flemish and Velázquez influences. The clientele determined the fact that the subject matter was reduced almost exclusively to portraits and religious paintings.