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Viceroyalty school. Cuzco. Peru. 18th century.
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Beschreibung
Viceroyalty school. Cuzco. Peru. 18th century.
“Our Lady of Solitude”.
Oil on canvas.
115,5 x 77,5 cm.
The painting is remarkable for its quality of both the depiction of the figure of the Virgin Mary, as well as the golden and silver details that adorn her clothing and the curtains on the sides. The use of gilding and silver is particularly striking in the Cuzco School, where these techniques were used to enhance the sacred and monumental character of religious images.
The Virgin Mary is presented with a serene countenance but full of sadness, with her hands crossed over her chest and a sword piercing her heart, a symbol of the pain she endured at the sight of her son's suffering. This motif is common in Christian iconography, evoking the prophecy of Simeon in the Gospel of Luke: “...a sword shall pierce through thine own soul” (Luke 2:35).
The background of the painting is framed by red curtains, richly decorated with silver embroidery, which not only adds a theatrical dimension to the scene, but also frames the Virgin as a central figure of worship, almost as if she were on a sacred altar or stage. This type of presentation is typical of the Andean baroque, where theatrical and ornamental elements combine to create a sense of splendor and sacredness.
The use of gilding on the Virgin's vestments is characteristic of the Cuzco School, which distinguished itself through its abundant application of gold leaf to create effects of richness and luminosity. The embroidery on the draperies is not merely decorative; its inclusion reinforces the elevated status of the Virgin and her central role in Marian devotion.
The presence of candelabra and flowers in the lower part of the composition underscores the liturgical and devotional character of the image, suggesting a space of worship where the Virgin is venerated with prayers and offerings. These elements also reflect the European influence in the composition, but adapted to the local sensibility and materials.
Devotion to the sorrows of the Virgin was promoted in the 13th century by the Servite order. Its feast dates back to 1413, in Cologne, replacing the celebration of Our Lady of the Passion, whose iconography aroused controversy when theologians saw her fainting as little in keeping with Mary, thus counteracting the iconoclastic movement of the followers of John Huss.
There are three main types with which figurative artists expressed the sorrows of the Virgin until the 16th century: the first corresponds to the last scene of the Passion, at the moment of leaving her dead body in the tomb. Mary appears there accompanied by St. John, the Marys, Nicodemus and Joseph of Arimathea, contemplating the corpse of her son.
Another way is to contemplate Mary with her son in her lap, after he was deposited in it by the holy men, after untying him from the cross.
And the third, the closest to the one we see in this painting, consists of witnessing Mary at the foot of the cross with seven daggers, alluding to her seven sorrows or with a single sword, as a recapitulation of all of them.
The most typical way of representing Mary's solitude is to see her kneeling on an altar, wearing a nun's habit and holding a rosary, richly crowned with a blaze of light, and clasping her hands in prayer, with two vases, two or more candles, the symbols of the passion at her feet and two large curtains at her back, which enhance the moment in the altar scene.
The most significant characteristic in the painting we have here is that the Virgin Mary appears to be depicted as a mannequin, captured full length, appearing to take a first step to walk.
The abundance of these images was due to the worship she had received throughout the year, but above all, to the prominence that they took on during Lent and Holy Week, both in the Good Friday processions and in the Descent from the Cross.
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Viceroyalty school. Cuzco. Peru. 18th century.
“Our Lady of Solitude”.
Oil on canvas.
115,5 x 77,5 cm.
The painting is remarkable for its quality of both the depiction of the figure of the Virgin Mary, as well as the golden and silver details that adorn her clothing and the curtains on the sides. The use of gilding and silver is particularly striking in the Cuzco School, where these techniques were used to enhance the sacred and monumental character of religious images.
The Virgin Mary is presented with a serene countenance but full of sadness, with her hands crossed over her chest and a sword piercing her heart, a symbol of the pain she endured at the sight of her son's suffering. This motif is common in Christian iconography, evoking the prophecy of Simeon in the Gospel of Luke: “...a sword shall pierce through thine own soul” (Luke 2:35).
The background of the painting is framed by red curtains, richly decorated with silver embroidery, which not only adds a theatrical dimension to the scene, but also frames the Virgin as a central figure of worship, almost as if she were on a sacred altar or stage. This type of presentation is typical of the Andean baroque, where theatrical and ornamental elements combine to create a sense of splendor and sacredness.
The use of gilding on the Virgin's vestments is characteristic of the Cuzco School, which distinguished itself through its abundant application of gold leaf to create effects of richness and luminosity. The embroidery on the draperies is not merely decorative; its inclusion reinforces the elevated status of the Virgin and her central role in Marian devotion.
The presence of candelabra and flowers in the lower part of the composition underscores the liturgical and devotional character of the image, suggesting a space of worship where the Virgin is venerated with prayers and offerings. These elements also reflect the European influence in the composition, but adapted to the local sensibility and materials.
Devotion to the sorrows of the Virgin was promoted in the 13th century by the Servite order. Its feast dates back to 1413, in Cologne, replacing the celebration of Our Lady of the Passion, whose iconography aroused controversy when theologians saw her fainting as little in keeping with Mary, thus counteracting the iconoclastic movement of the followers of John Huss.
There are three main types with which figurative artists expressed the sorrows of the Virgin until the 16th century: the first corresponds to the last scene of the Passion, at the moment of leaving her dead body in the tomb. Mary appears there accompanied by St. John, the Marys, Nicodemus and Joseph of Arimathea, contemplating the corpse of her son.
Another way is to contemplate Mary with her son in her lap, after he was deposited in it by the holy men, after untying him from the cross.
And the third, the closest to the one we see in this painting, consists of witnessing Mary at the foot of the cross with seven daggers, alluding to her seven sorrows or with a single sword, as a recapitulation of all of them.
The most typical way of representing Mary's solitude is to see her kneeling on an altar, wearing a nun's habit and holding a rosary, richly crowned with a blaze of light, and clasping her hands in prayer, with two vases, two or more candles, the symbols of the passion at her feet and two large curtains at her back, which enhance the moment in the altar scene.
The most significant characteristic in the painting we have here is that the Virgin Mary appears to be depicted as a mannequin, captured full length, appearing to take a first step to walk.
The abundance of these images was due to the worship she had received throughout the year, but above all, to the prominence that they took on during Lent and Holy Week, both in the Good Friday processions and in the Descent from the Cross.
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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