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Antonio de Torres (Mexico, 1667 - 1731)
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Beschreibung
Antonio de Torres (Mexico, 1667 - 1731)
"Saint Michael the Archangel"
Oil on canvas on panel. Signed.
40 x 25 cm.
On the back is a handwritten label in French with the following information: "Antonio de Torres, peintre de Séville du XVIII s. N.Dame de la Guadeloupe à San Sebastian" ("Antonio de Torres, 18th-century Seville painter. Our Lady of Guadalupe to San Sebastian". Referring to the Sanctuary of Our Lady of Guadalupe in Hondarribia)
Antonio de Torres was a Novohispanic painter about whom little information has been preserved. However, Lázaro Gila Medina, a doctor in Art History from the University of Granada, recently conducted two studies in which he unveiled a previously unknown series of paintings of the Virgin Mary (in 2015) and a "Holy Ecce Homo" and a "Dormition of the Virgin" (in 2020). This significant discovery was accompanied by a novel biographical approach, gathering scattered information—some of it very difficult to access—and bringing in new information from his research. The 2015 study marked the first comprehensive overview of Torres' life and professional career. We base this profile on these studies and refer the reader to them for further information if needed.
First and foremost, Antonio de Torres should not be confused with his namesake, who “worked, starting from the second third of the 18th century in Seville, just when this artist had already passed away.” The Novohispanic painter, as Medina informs us, directed a large workshop and enjoyed remarkable professional prestige, evidenced by the numerous and large-scale commissions he received from “the great capital of the viceroyalty, […] almost all the territory of New Spain, […] and even from other geographical areas far away.” As we read in his study, Torres became an official painter at the age of 19 and was recognized as a master painter by 1697, at the age of 30. His workshop received commissions that were “not only individual paintings but also large series, especially of religious themes, which he could undertake thanks to his complex workshop.”
It is likely that his uncle Antonio Rodríguez would have been his teacher. However, his uncle was not his only artistic influence, as “in the Mexican artistic landscape of the time, there were other renowned painters of the high baroque,” such as Cristóbal de Villalpando, Juan Correa, or Juan Sánchez Salmerón—contemporaries but not peers of the painter. Torres belonged to a key generation that bridged these masters of the high baroque and the following generation, already part of the late baroque, including José de Ibarra (1685-1756), Miguel Cabrera (1695-1768), and José de Páez (1720-1790).
The previously unknown paintings presented by Medina in both studies added to an already established artistic corpus formed by numerous series. In his article for the Annals of the Museum of America , Medina revealed “seven paintings dedicated to the most relevant episodes in the life of Mary, plus an eighth featuring the Virgin of Guadalupe […] scattered across different sections of the Franciscan convent of the Incarnation in Granada, and according to oral tradition within the community of nuns, they arrived as part of a novice’s dowry upon entering the convent.” The series of canvases is signed and dated 1626, while the Guadalupe painting is dated 1624. Both sets of artworks belong to “his second and final professional stage, spanning from 1724 until his death in 1731,” during which time the "Holy Ecce Homo" of 1726, located in the portal of the same convent, was also created—as stated by Medina in his article for Laboratorio de Arte. This painting is a copy of another devotional image from New Spain, an original painting now lost that was once situated in the Merchants’ Portal of the Plaza Mayor. In the same study, Medina also presents “an excellent previously unknown painting of the ‘Dormition of the Virgin’ from the community of Diocesan Operative Priests in Mexico City […] dated 1713; consequently, it corresponds to his first professional stage,” from 1703 to 1722, when he suffered a significant but temporary decline in health.
Bibliographic references:
- Medina, Lázaro Gila. (2015). “Aproximación a la vida y obra del pintor novohispano Antonio de Torres (1667-1731) y estudio de una serie inédita mariana del convento de la Encarnación de Granada de franciscanas clarisas”. Anales del Museo de América, (23), 82-113. https://dialnet.unirioja.es/servlet/articulo?codigo=5612873
- Medina, Lázaro Gila. (2020). “Dos nuevas obras del pintor novohispano Antonio de Torres (1667-1731): el Santo Ecce Homo del portal del convento de la Encarnación de Granada y la Dormición de la Virgen del Seminario de Sacerdotes Operarios Diocesanos de Ciudad de México”. Laboratorio de Arte: Revista del Departamento de Historia del Arte, (32), 207-230. [https://dx.doi.org/10.12795/LA.2020.i32.11]
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Antonio de Torres (Mexico, 1667 - 1731)
"Saint Michael the Archangel"
Oil on canvas on panel. Signed.
40 x 25 cm.
On the back is a handwritten label in French with the following information: "Antonio de Torres, peintre de Séville du XVIII s. N.Dame de la Guadeloupe à San Sebastian" ("Antonio de Torres, 18th-century Seville painter. Our Lady of Guadalupe to San Sebastian". Referring to the Sanctuary of Our Lady of Guadalupe in Hondarribia)
Antonio de Torres was a Novohispanic painter about whom little information has been preserved. However, Lázaro Gila Medina, a doctor in Art History from the University of Granada, recently conducted two studies in which he unveiled a previously unknown series of paintings of the Virgin Mary (in 2015) and a "Holy Ecce Homo" and a "Dormition of the Virgin" (in 2020). This significant discovery was accompanied by a novel biographical approach, gathering scattered information—some of it very difficult to access—and bringing in new information from his research. The 2015 study marked the first comprehensive overview of Torres' life and professional career. We base this profile on these studies and refer the reader to them for further information if needed.
First and foremost, Antonio de Torres should not be confused with his namesake, who “worked, starting from the second third of the 18th century in Seville, just when this artist had already passed away.” The Novohispanic painter, as Medina informs us, directed a large workshop and enjoyed remarkable professional prestige, evidenced by the numerous and large-scale commissions he received from “the great capital of the viceroyalty, […] almost all the territory of New Spain, […] and even from other geographical areas far away.” As we read in his study, Torres became an official painter at the age of 19 and was recognized as a master painter by 1697, at the age of 30. His workshop received commissions that were “not only individual paintings but also large series, especially of religious themes, which he could undertake thanks to his complex workshop.”
It is likely that his uncle Antonio Rodríguez would have been his teacher. However, his uncle was not his only artistic influence, as “in the Mexican artistic landscape of the time, there were other renowned painters of the high baroque,” such as Cristóbal de Villalpando, Juan Correa, or Juan Sánchez Salmerón—contemporaries but not peers of the painter. Torres belonged to a key generation that bridged these masters of the high baroque and the following generation, already part of the late baroque, including José de Ibarra (1685-1756), Miguel Cabrera (1695-1768), and José de Páez (1720-1790).
The previously unknown paintings presented by Medina in both studies added to an already established artistic corpus formed by numerous series. In his article for the Annals of the Museum of America , Medina revealed “seven paintings dedicated to the most relevant episodes in the life of Mary, plus an eighth featuring the Virgin of Guadalupe […] scattered across different sections of the Franciscan convent of the Incarnation in Granada, and according to oral tradition within the community of nuns, they arrived as part of a novice’s dowry upon entering the convent.” The series of canvases is signed and dated 1626, while the Guadalupe painting is dated 1624. Both sets of artworks belong to “his second and final professional stage, spanning from 1724 until his death in 1731,” during which time the "Holy Ecce Homo" of 1726, located in the portal of the same convent, was also created—as stated by Medina in his article for Laboratorio de Arte. This painting is a copy of another devotional image from New Spain, an original painting now lost that was once situated in the Merchants’ Portal of the Plaza Mayor. In the same study, Medina also presents “an excellent previously unknown painting of the ‘Dormition of the Virgin’ from the community of Diocesan Operative Priests in Mexico City […] dated 1713; consequently, it corresponds to his first professional stage,” from 1703 to 1722, when he suffered a significant but temporary decline in health.
Bibliographic references:
- Medina, Lázaro Gila. (2015). “Aproximación a la vida y obra del pintor novohispano Antonio de Torres (1667-1731) y estudio de una serie inédita mariana del convento de la Encarnación de Granada de franciscanas clarisas”. Anales del Museo de América, (23), 82-113. https://dialnet.unirioja.es/servlet/articulo?codigo=5612873
- Medina, Lázaro Gila. (2020). “Dos nuevas obras del pintor novohispano Antonio de Torres (1667-1731): el Santo Ecce Homo del portal del convento de la Encarnación de Granada y la Dormición de la Virgen del Seminario de Sacerdotes Operarios Diocesanos de Ciudad de México”. Laboratorio de Arte: Revista del Departamento de Historia del Arte, (32), 207-230. [https://dx.doi.org/10.12795/LA.2020.i32.11]
From East to West. A merging of artistic influences
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Lose: 143
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Conde de Salvatierra, 8
Barcelona
08006
Spain
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