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Attributed to Mateo Pisarro (active in Puna de Jujuy, present-day Argentina, late 17th century – ear
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Beschreibung
Attributed to Mateo Pisarro (active in Puna de Jujuy, present-day Argentina, late 17th century – early 18th century).
"Immaculate Virgin with donor"
Oil on canvas.
213 x 155 cm.
The monumentality of the Immaculate Conception we present, combined with its carefully crafted composition and exquisite treatment of pictorial surfaces, allows us to recognize the experienced hand of Mateo Pisarro, whose production is documented in various chapels of the Jujuy Puna, such as the church of San Francisco de Asís in Yavi and the Cathedral of Nuestra Señora de la Candelaria y San Antonio in Humahuaca.
Mateo Pisarro is one of the fundamental names for understanding the development of devotional art in the southernmost reaches of the viceroyalty. His production is closely linked to the figure of Juan José Campero y Herrera, Marquis of the Valle de Tojo, an encomendero (grantholder) and major artistic patron in the region. This connection explains not only the concentration of Pisarro’s works in the chapels of Yavi, Casabindo, and Cochinoca but also the material and symbolic luxury that characterizes his paintings, conceived as vehicles of religious and political propaganda.
The art of Pisarro, like that of other frontier painters, responds to a complex dialogue between European visual heritage, local technical resources, and the devotional expectations of a mestizo society, where the Marian image acquired a central role as a symbol of purity, intercession, and protective power. The monumentality of this *Virgin Immaculate with Donor* precisely fulfills this public and pedagogical function, in which the visual display is not mere ornamentation but an essential part of its symbolic efficacy.
This work closely relates to other Immaculate Conceptions attributed to Pisarro, such as the *Immaculate Conception with the Most Holy Sacrament*, kept in the church of San Francisco de Asís in Yavi, where the same starry blue mantle and golden brocade reappear, or the *Coronation of the Virgin by the Most Holy Trinity* in Humahuaca Cathedral, in which the same frontal and symmetrical scheme organizes the composition. To these is added the Immaculate from a private collection in Jujuy, which, though smaller in size and without the presence of the donor, shares the treatment of the hands, the oval face, and the luminous texture of the lacework with this painting.
The execution of this artwork reflects Pisarro’s sophisticated material knowledge, whose palette has been identified in recent studies as the result of a remarkable combination of local pigments and imported materials. Research led by Gabriela Siracusano and the TAREA Foundation has demonstrated that the blue of these mantles does not come exclusively from azurite or indigo but sometimes incorporates smalt, a pigment derived from cobalt-colored glass, implying a direct connection with trade circuits involving mining and art from Potosí to Puna and Upper Peru.
The gold brocade, worked with delicate applications on the pictorial surface, refers to techniques documented in Cuzco and Potosí painting but adapted here to a technical context where access to certain materials required the painter to experiment with innovative combinations. This ability of Pisarro to manipulate diverse materials not only responds to his technical training, likely linked to the circle of Melchor Pérez de Holguín, but also to an Andean tradition where the symbolic value of color and material was inseparable from its ritual efficacy.
Far from being an isolated painting, this *Virgin Immaculate with Donor* emerges as a key piece for understanding the Baroque art of Jujuy Puna and its role as a vehicle for cultural negotiation, affirmation of identity, and the expression of a deeply rooted visual syncretism in local traditions.
Reference Bibliography:
- Plaza Roig, A. (2022). “Matheo Pisarro: iconografías disímiles para una devoción eficaz”. Eikón Imago 11, 311-325.
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Attributed to Mateo Pisarro (active in Puna de Jujuy, present-day Argentina, late 17th century – early 18th century).
"Immaculate Virgin with donor"
Oil on canvas.
213 x 155 cm.
The monumentality of the Immaculate Conception we present, combined with its carefully crafted composition and exquisite treatment of pictorial surfaces, allows us to recognize the experienced hand of Mateo Pisarro, whose production is documented in various chapels of the Jujuy Puna, such as the church of San Francisco de Asís in Yavi and the Cathedral of Nuestra Señora de la Candelaria y San Antonio in Humahuaca.
Mateo Pisarro is one of the fundamental names for understanding the development of devotional art in the southernmost reaches of the viceroyalty. His production is closely linked to the figure of Juan José Campero y Herrera, Marquis of the Valle de Tojo, an encomendero (grantholder) and major artistic patron in the region. This connection explains not only the concentration of Pisarro’s works in the chapels of Yavi, Casabindo, and Cochinoca but also the material and symbolic luxury that characterizes his paintings, conceived as vehicles of religious and political propaganda.
The art of Pisarro, like that of other frontier painters, responds to a complex dialogue between European visual heritage, local technical resources, and the devotional expectations of a mestizo society, where the Marian image acquired a central role as a symbol of purity, intercession, and protective power. The monumentality of this *Virgin Immaculate with Donor* precisely fulfills this public and pedagogical function, in which the visual display is not mere ornamentation but an essential part of its symbolic efficacy.
This work closely relates to other Immaculate Conceptions attributed to Pisarro, such as the *Immaculate Conception with the Most Holy Sacrament*, kept in the church of San Francisco de Asís in Yavi, where the same starry blue mantle and golden brocade reappear, or the *Coronation of the Virgin by the Most Holy Trinity* in Humahuaca Cathedral, in which the same frontal and symmetrical scheme organizes the composition. To these is added the Immaculate from a private collection in Jujuy, which, though smaller in size and without the presence of the donor, shares the treatment of the hands, the oval face, and the luminous texture of the lacework with this painting.
The execution of this artwork reflects Pisarro’s sophisticated material knowledge, whose palette has been identified in recent studies as the result of a remarkable combination of local pigments and imported materials. Research led by Gabriela Siracusano and the TAREA Foundation has demonstrated that the blue of these mantles does not come exclusively from azurite or indigo but sometimes incorporates smalt, a pigment derived from cobalt-colored glass, implying a direct connection with trade circuits involving mining and art from Potosí to Puna and Upper Peru.
The gold brocade, worked with delicate applications on the pictorial surface, refers to techniques documented in Cuzco and Potosí painting but adapted here to a technical context where access to certain materials required the painter to experiment with innovative combinations. This ability of Pisarro to manipulate diverse materials not only responds to his technical training, likely linked to the circle of Melchor Pérez de Holguín, but also to an Andean tradition where the symbolic value of color and material was inseparable from its ritual efficacy.
Far from being an isolated painting, this *Virgin Immaculate with Donor* emerges as a key piece for understanding the Baroque art of Jujuy Puna and its role as a vehicle for cultural negotiation, affirmation of identity, and the expression of a deeply rooted visual syncretism in local traditions.
Reference Bibliography:
- Plaza Roig, A. (2022). “Matheo Pisarro: iconografías disímiles para una devoción eficaz”. Eikón Imago 11, 311-325.
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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Wichtige Informationen
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From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
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