Andalusian School; second half of the seventeenth century."The Assumption of the Virgin".Oil on canvas. Relined.It has numerous faults and repainting.It has Andalusian frame of the eighteenth century.Measurements: 169 x 212 cm; 179 x 220 cm (frame).The expression Assumption is significant: it is opposed to the Ascension, as the passive to the active. That is to say, Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. Byzantine art represents the Assumption of the Virgin's soul, collected by Christ on his deathbed. On the other hand, Western art depicts her bodily Assumption outside the tomb where the apostles had buried her. Therefore, a distinction must be made in iconography between the Assumption of the Virgin's soul in the form of a child and the Assumption of her glorious body, the latter being the one represented here. The European model presents Mary in a prayerful attitude, with joined hands, surrounded by golden light, carried by angels and leaving the open tomb at her feet, which may appear empty or full of lilies and roses. Because of an iconographic confusion, the Assumption will lose its original character to become Ascension, as it happens in this work. Instead of being elevated by angels, the Virgin flies alone, with her arms outstretched; the angels surrounding her are limited to form a procession. This transformation was consummated in 16th century Italian art, and progressively spread throughout the rest of Europe. However, this new formula did not eliminate the old one, of which we find examples in the 17th century. This painting stands out for the artist's interest in the plastic based on his workmanship and chromatism.Due to its formal characteristics, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international transcendence, given that his influence was also key in other schools, as is the case of the passage to the full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he stayed between 1600 and 1608. During these decisive dates, the young Flemish master was able to learn first-hand about naturalism and classicism, the works of Caravaggio and the Carracci.