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Jose Campeche (San Juan, Puerto Rico, 1751 - 1809)
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Beschreibung
Jose Campeche (San Juan, Puerto Rico, 1751 - 1809)"Possible Portrait of Mrs. Catalina de Urrutia"Oil on canvas. 102 x 77 cm.Campeche portrayed María de Urrutia on various occasions and at different ages. Our hypothesis is that this portrait would be the one in which she appears at the oldest age.As the website of the Hispanic Society of New York indicates, "María Catalina de Urrutia belonged to a prominent Creole family of landowners in Cuba, where she was born (in 1749); her father, Bernardo de Urrutia y Matos, was mayor of Havana. In 1766 María Catalina married Colonel Juan Andrés Dabán y Busterino (1724-1793), a Spanish military officer of Aragonese descent who would become governor and captain general of Puerto Rico from 1783 to 1789. He had been military inspector of Cuba in the mid-1760s, and it was apparently there that they became engaged. In Puerto Rico he led hurricane reconstruction campaigns, established a postal system, began paving streets and pavements with blue volcanic ballast from the Canary Islands, and founded a cigar factory that exported to the Netherlands. He was promoted to field marshal, and back in Spain he was governor of Badajoz from 1792. The date on which Don Juan and Doña María moved to Spain is uncertain.The iconography of the painting reveals elements of deep personal significance. Her attire includes sumptuous lace and an exceptional jewel: a pendant with a hair locket, a common practice at the time, often associated with the memory of a deceased loved one. The Dabán-Urrutia family had nine children, some of whom are known to have died in infancy, including Juan Bernardo and Francisco Dabán Urrutia, whose records disappear prematurely. It is plausible that the pendant with hair represents the mother's mourning for one of them.The material history of the portrait suggests that it may have been taken to Spain by one of their sons after the death of Juan Andrés Dabán in 1793. By that time, several of their descendants were already in the Iberian Peninsula holding military and administrative positions. Antonio Dabán Urrutia (1777-1848), a prominent naval captain and counselor of the Indies, and Manuel Dabán Urrutia (1771-1849), a brigadier and military governor, were key figures in 19th century Spain, and it is possible that the portrait was transferred by them as a family heirloom. Since there are no precise records of María Catalina's death, it is uncertain whether she was still alive when the work was moved, although her presence in sources after 1793 is scarce.This painting, an exceptional testimony of the Puerto Rican colonial elite and of Campeche's mastery, has resurfaced in the academic field as a visual document of the Dabán-Urrutia family, connecting the Spanish Caribbean with peninsular Spain across generations.Campeche was one of the most renowned Puerto Rican artists. He was the only disciple of Luis Paret y Alcázar (1746-1799), who arrived on the island as he was banished by King Charles III between 1775 and 1778. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."
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Jose Campeche (San Juan, Puerto Rico, 1751 - 1809)"Possible Portrait of Mrs. Catalina de Urrutia"Oil on canvas. 102 x 77 cm.Campeche portrayed María de Urrutia on various occasions and at different ages. Our hypothesis is that this portrait would be the one in which she appears at the oldest age.As the website of the Hispanic Society of New York indicates, "María Catalina de Urrutia belonged to a prominent Creole family of landowners in Cuba, where she was born (in 1749); her father, Bernardo de Urrutia y Matos, was mayor of Havana. In 1766 María Catalina married Colonel Juan Andrés Dabán y Busterino (1724-1793), a Spanish military officer of Aragonese descent who would become governor and captain general of Puerto Rico from 1783 to 1789. He had been military inspector of Cuba in the mid-1760s, and it was apparently there that they became engaged. In Puerto Rico he led hurricane reconstruction campaigns, established a postal system, began paving streets and pavements with blue volcanic ballast from the Canary Islands, and founded a cigar factory that exported to the Netherlands. He was promoted to field marshal, and back in Spain he was governor of Badajoz from 1792. The date on which Don Juan and Doña María moved to Spain is uncertain.The iconography of the painting reveals elements of deep personal significance. Her attire includes sumptuous lace and an exceptional jewel: a pendant with a hair locket, a common practice at the time, often associated with the memory of a deceased loved one. The Dabán-Urrutia family had nine children, some of whom are known to have died in infancy, including Juan Bernardo and Francisco Dabán Urrutia, whose records disappear prematurely. It is plausible that the pendant with hair represents the mother's mourning for one of them.The material history of the portrait suggests that it may have been taken to Spain by one of their sons after the death of Juan Andrés Dabán in 1793. By that time, several of their descendants were already in the Iberian Peninsula holding military and administrative positions. Antonio Dabán Urrutia (1777-1848), a prominent naval captain and counselor of the Indies, and Manuel Dabán Urrutia (1771-1849), a brigadier and military governor, were key figures in 19th century Spain, and it is possible that the portrait was transferred by them as a family heirloom. Since there are no precise records of María Catalina's death, it is uncertain whether she was still alive when the work was moved, although her presence in sources after 1793 is scarce.This painting, an exceptional testimony of the Puerto Rican colonial elite and of Campeche's mastery, has resurfaced in the academic field as a visual document of the Dabán-Urrutia family, connecting the Spanish Caribbean with peninsular Spain across generations.Campeche was one of the most renowned Puerto Rican artists. He was the only disciple of Luis Paret y Alcázar (1746-1799), who arrived on the island as he was banished by King Charles III between 1775 and 1778. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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