Spanish school of the 17th century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685)."Pastoral Scene".Oil on canvas.Frame with plaque of attribution to Francisco Antolínez.Measurements: 84 x 110 cm; 93 x 120 cm (frame).We are in front of a pastoral scene close to the works of Ignacio de Iriarte (Azcoitia, 1621 - Seville, 1670) and Francisco Antolínez Sarabia (Seville, around 1645 - Madrid, 1700), both painters belonging to the Sevillian school of painting. It is a work in which the artist tries to communicate a religious reverence for the landscape, as well as for the figures that complete it: a shepherd resting while watching over his sheep and a young woman (in the background) leading her flock.The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.