Spanish neoclassical school; early 19th century."Saint Joseph".Carved wood, polychrome and vitreous paste eyes.It presents faults in the carving and saints in the polychromy.Loss of the Baby Jesus.Measurements: 101 x 55 x 43 cm.The image of Saint Joseph is placed on a rectangular base. Bearded, holding a mantle and raising his other hand halfway, he looks down, slightly inclining his head. This type of carving was very common from the 18th century onwards, partly following the influence of Rococo in the movement of the drapery, but also showing a relationship with Neoclassicism as far as the figure is concerned, mainly, and maintaining some of the Spanish Baroque tradition (iconography, material).Until the Counter-Reformation, the figure of Saint Joseph usually remained in the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ideals, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.