FRANCISCO GOMEZ DE VALENCIA (Granada, 1657- ¿?). "Lamentation over the dead Christ". Oil on canvas. Relined. Measurements: 164 x 109 cm; 178 x 123 cm (frame). The influence of Van Dyck was pronounced in the painting of Francisco Gómez de Valencia, as well as in that of his father Felipe. This is especially emphasized in the Lamentation of the Dead Christ, since compositionally and thematically this painting is very close to the one preserved by Van Dyck in the Museo de Bellas Artes in Bilbao: the face of the Virgin is illuminated and flees towards the sky while she holds in her lap the head of her son, whose body is only partially covered by the shroud. As in Van Dyck's painting, angels share Mary's pain. They point out the stigmata and wounds of the recumbent body. This is a characteristic work of Andalusian baroque, which displays a palette of varied colors and excellent light ranges that veer from the white of the sheet to the cobalt blues shimmering in the distance. Also noteworthy is the skillful anatomical representation of the dead Christ in contrast with the plump angels. Francisco Gómez de Valencia was a Spanish Baroque painter, son of the painter Felipe Gómez de Valencia and follower of his father's style as a member of the school of painting created in that city around the work of Alonso Cano. According to Ceán Bermúdez, Francisco inherited from his father the sense of sweet color and the facility for drawing, as evidenced by the large paintings in the sacristy of the Discalced Carmelites of Granada, dedicated to the saints of the order, and can also be seen in some of his works preserved in the Museum of Fine Arts in Granada, especially in the signed Virgen de las Angustias, in which he addressed a motif repeated on several occasions by his father, always using Flemish prints. Not before 1699, the year in which a canvas of the Dormition of the Virgin of the Museum of Granada is dated, he must have moved to Mexico, according to Ceán Bermúdez, where he would have died in the middle of the 18th century. Alfonso E. Pérez Sánchez mentions in this sense an Asunción, with canesque memories, signed by him and conserved in the Academy of San Carlos of Mexico. Dimensions 164 x 109 cm; 178 x 123 cm (frame).