Born in Murcia in 1580, Pedro de Orrente belongs to the most mobile painters of the Spanish Golden Age. He was in Toledo from 1600, in an environment particularly receptive to Venetian painting by the Bassano: Sanchez Cotân copied the works and El Greco expressed his admiration for Jacopo Bassano. Orrente left for Italy at the end of 1602 and was in Venice in 1605, probably in the orbit of Leandro Bassano, whom ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, adapting Venetian formulas to an Iberian sensibility. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master. Back in Spain, he worked between Murcia, Toledo, Valencia and other cities, which ancient sources present as his master is the Old Testament story inscribed in a vast landscape: the biblical protagonists share space with shepherds, animals, paths, rocks and changing lights. Jacob at the well, Abraham and Isaac on the path of sacrifice and The Journey of Tobit and Sarah show how movement becomes a narrative structure. Laban seeking idols or Gideon's troops allow many groups to be distributed in depth. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost be read as an autonomous pastoral scene, as the flock occupies an active place. The Return to the Sheepfold can almost Pedro Orrente Murciano, affirms the identity of a traveling artist. Several works associated with his name relate to the workshop, the circle or copies, proof of the diffusion of his models. This collection allows us to observe precisely the power of a language capable of circulating beyond the hand of the master. The "Pedro de Orrente" selection notably compares Jacob at the well and Abraham and Isaac on the path of sacrifice. His reading favors space.
Orrento does not place the Bible in front of a setting: he makes his stories walk in the dust, among the flocks, under a light learned in Venice.
