Large Christ Carrying the Cross next to Saint Peter, attributable to Antonio de Comontes, 16th century Spanish school

Large Christ Carrying the Cross next to Saint Peter, attributable to Antonio de Comontes, 16th century Spanish school
Oil on panel, measures: 123 x 80 cm. Antonio de Comontes (died around 1547), was a Spanish Renaissance painter active in Toledo in the first half of the 16th century, collaborator and close follower of Juan de Borgoña, although Ceán Bermúdez made him a disciple of the ill-known Antonio del Rincón. Member of a family of artists, his brother Íñigo de Comontes and his nephew Francisco were also painters and like him they were related to Juan de Borgoña. With him Antonio contracted in 1513 the tables of the main altarpiece and collaterals of the church of San Andrés de Toledo commissioned by the ambassador in Rome and commander of the Order of Calatrava Francisco de Rojas, together with another altarpiece, lost, for the convent of Calatrava . The execution of all of them seems to be the work entirely of Comontes, more expressive in the faces than his master, although he was able to do it following the traces of Burgundy.1 The altarpiece of the Concepción Francisca convent in Toledo is also his, with the larger tables of the Embrace before the golden door and the Birth of the Virgin and a Calvary from the National Museum of Sculpture, very close to the one that crowns the altarpiece of the church of San Andrés, indebted in turn to the one that Santa Cruz painted in the main altarpiece of the cathedral of Ávila. Reference bibliography: Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800, volume I, p. 350. very close to the one that crowns the altarpiece of the church of San Andrés, indebted in turn to the one that Santa Cruz painted in the main altarpiece of the cathedral of Ávila. Reference bibliography: Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800, volume I, p. 350. very close to the one that crowns the altarpiece of the church of San Andrés, indebted in turn to the one that Santa Cruz painted in the main altarpiece of the cathedral of Ávila. Reference bibliography: Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800, volume I, p. 350.