Spanish painter. He resided in Madrid for the greater part of his life. It is not known under whom he trained. He was influenced by Juan de la Corte and by Flemish prints of the works by Hans Vredeman de Vries. He painted architectural perspectives with biblical and evangelical scenes.
The painting shows an extravagant architectural capriccio with a state barge on a canal and Pharaoh’s daughter finding Moses. It is related to a group of works by Guti�rrez depicting biblical subjects set within grandiose mannerist architectural settings. These include a set of six capriccios depicting Joseph in Heliopolis, the Arc of the Covenant, the Judgment of Solomon, Solomon and the Queen of Sheba, the Betrothal of the Virgin, and Christ in the House of Simon the Pharisee, all now in the Colegiata at Villagarcia de Campos (Valladolid).
Stylistically, Guti�rrez’s figure groups derive from Juan de la Corte, but his complex architectural renderings betray a likely knowledge of the engravings and designs from Northern and Central Europe, particularly the work of Hans Vredeman de Vries.
Francisco Guti�rrez Cabello is an artist who stands out among the group of Madrid painters by always setting his scenes in rich constructions, as exemplified by the present composition. He excels in arranging complex and sumptuous architectural backdrops, most of which are derived from printed Flemish models such as those by Hans Vredeman de Vries, combining Gothic and Mannerist forms. In such luxurious surroundings he sets evangelical or biblical scenes peopled by slight vivacious characters. His colouring is usually bright and vivid, his skies intensely blue.
In this case the episode depicted is the biblical tale of the rescue of Moses from the waters of the river Nile by the Pharaoh’s daughter. The numerous characters dressed in luxurious costumes and the circle of maidservants accompanying the Pharaoh’s daughter form a colourful ensemble. Fantastic regal rowing boats sail the Nile, while carriages drawn by white horses wait on the waterfront, all of which are totally anachronistic features.
This painting exemplifies Guti�rrez Cabello’s characteristic use of architectural perspective as the setting for harmonious, figure-filled, religious and mythological scenes.
