Circle of CORRADO GIAQUINTO (Italy, 1703 - 1765/66)."Immaculate Conception.Oil on canvas.Measurements: 49,5 x 40,5 cm; 63 x 72,5 cm (frame).The finish of this work, especially in the upper area, shows us an image that was possibly conceived as part of the ornamentation of a specific architectural element. The subject, which was very popular at the time, represents the devotional scene of the Immaculate Conception, which was verymon in 17th-century Spanish art and became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to spread the Immaculate Conception, bringing together symbolism and popular fervour. Based on the previous advances made by painters such as Juan de Juanes, it was Murillo who constructed the definitive image of the Immaculate Conception, finding a formula that allowed him to bring together all the necessary features in a single image.Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to hispositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; theposition is totally theatrical, with the clarity of classicismbined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's was a classically influenced rococo, and his works would increasingly denote a more solid classicism:positions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.Dimensions: 49.5 x 40.5 cm; 63 x 72.5 cm (frame).