Flemish school; late 16th century. "Virgin and Child with Angel Musicians". Oil on panel. Engatillada. It presents restorations. Measurements. 81,5 x 65,5 cm; 105 x 89,5 cm (frame). The oil painting shows a dark background on which the figures stand out, placed diagonally, creating a depth that counteracts the neutrality of the dark background. In the centre of the composition is Mary, seated, with the naked Christ Child in her arms. Next to them in a lower position are two kneeling angels playing music on a lute. Thematically, the scene is part of the Nativity scenes of the Middle Ages, but it did not develop and become popular until the Renaissance, spreading to a much greater degree in the Baroque period thanks to the Counter-Reformation. Until the 17th century it was common for the figure of Saint Joseph to appear slightly "separated" from Mary and Jesus, alluding to his role as the putative father of Christ. This work is part of the Antwerp School, characterised by the achievement of a balanced synthesis between Flemish tradition and the influence of the Italian Renaissance. In the 17th century the city underwent an artistic renaissance that made it the artistic stronghold of the Flemish Baroque under the workshops of Peter Paul Rubens, Jacob Jordaens and the influence of Anton van Dyck and Paul Bril, a painting belonging to the Flemish school, which can be deduced from certain characteristics associated with that school. In this painting there is a realistic reaction to the fantasy of the international gothic, it is a painting very influenced by the art of sculpture, oil painting is usually generalised, it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter s eye, the presence of many details is evident, a painting in which real beings appear without idealistic intention. The portrait is increasingly prominent, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively. During the 17th and 18th centuries, ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. Taken as a whole, regardless of their size or medium, these images served the purpose of sacralising everyday life beyond the altars.