Description

This wooden carved sculpture, together with that of the Virgin Mary, represents the iconography of the Nativity, although in this case there is no figure to represent the Christ Child. 

Its composition plays with the contorted posture of Saint Joseph, who faces us with his torso while turning his head to face the Christ Child in adoration. This position draws the viewer’s attention to the Baby Jesus. Joseph is depicted kneeling on a bed of clouds, giving the scene a celestial quality, in line with the popular imaginary. With his right hand, he clutches his chest, holding the cape close to him in a somewhat artificial composition. The other hand is extended outward, probably to hold a crook (which is now missing). Overall, the piece is more gestural and expressive than that of the Virgin Mary. 

The outline of this carving is based on a simple series of planes, with clean-edged folds and refined contours so typical of the late Baroque period. Adding to this stylistic analysis is the polychrome, heavily decorated in golds and carved plant motifs. The top layer of gilding has been carefully scratched away in patterns to reveal the polychrome underneath, which further accentuates the contours. Despite having been associated with the Sevillian artist Duque Cornejo, the style is much closer to that of Granada.