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Angelino Medoro (Naples, 1567 - Seville, 1631)

In Vanitas, Parables and Devotions

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Angelino Medoro (Naples, 1567 - Seville, 1631)
'The Birth of Jesus'
Oil on canvas. Relined.
97 x 81 cm.
Attached is a study of pigments dating the work to the 16th century.
Estamos sin duda antes uno de los ejemplos más delicados y maravillosos de la influencia del arte italiano, concretamente de Rafael, realizado en el virreinato del Perú, en este caso en nuestra opinión atribuido a la mano de Angelino Medoro.
El rostro de la Virgen es dulce, técnicamente impecable y transmite una gran emoción y mueve a la devoción.
En los últimos años, importantes estudiosos peruanos han resaltado la obra de Rafael como germen del barroco peruano.
Gracias a un artículo de Enrique Planas en el diario El Comercio, leemos entre otras, interesantes declaraciones como la del historiador de arte Luis Eduardo Wuffarden: “señalaba que la inmensa gravitación del pintor italiano está presente en nuestra pintura barroca, tomando como ejemplo un epígono manifiesto como Mateo Pérez de Alesio (Lecce, 1547 - Lima, 1628), artista italiano que dejó en el Perú obras tan memorables como la “Virgen de la leche”, expuesta hoy en la colección del MALI”. 
Continúa el artículo con la respuesta a esta misma cuestión de Ricardo Estabridis, Doctor en Historia del Arte y Profesor Principal de la Universidad Nacional Mayor de San Marcos: “Para él, lo primero por considerar es que fue Rafael de Sanzio quien puso la semilla del “manierismo”, estilo artístico surgido en Italia a comienzos del siglo XVI caracterizado por la abundancia de las formas complejas y poco naturales. “En los últimos años de su vida Rafael plantea el anticlasicismo, poniendo en tela de juicio el Alto Renacimiento vinculado a las instancias Vaticanas. “Su semilla se desarrollará tras su muerte, por ello se considera el año de 1520 como el nacimiento de la primera etapa del manierismo. Un estilo que llega a nosotros gracias a los pintores italianos como Bernardo Bitti, Mateo Pérez de Alesio y Angelino Medoro, que trabajaron en el Perú”, señala el Investigador. "Diario El Comercio. Ahora bien, no se trata de que Bitti, Alesio y Medoro sigan a pie juntillas la línea de Rafael, sin embargo, como señala Estabridis, es el maestro italiano el creador de esta corriente que decide romper con la simetría clásica, y acabar con la preponderancia de los personajes principales anteriormente colocados siempre al centro del cuadro. “El arte barroco propone una vuelta a Rafael, pero no al artista enfrentado a los clásicos sino más bien al autor de sus características y clásicas madonas. Vuelve entonces a realizarse ese tipo de imágenes, cuyo gran ejemplo es “La virgen de la Leche” de Alesio, pintada sobre una plancha de cobre, actualmente parte de la colección del MALI. Hay madonas pintadas por Bitti en la misma línea. Incluso, si nos fijamos en varias de sus obras, podremos advertir que el cuello de la túnica de la virgen tiene el mismo corte cuadrangular de las madonas de Rafael. Es una muestra de su influencia en el vestuario, en la dulzura de la escena y el tratamiento del rostro. Es una vuelta al Rafael clásico esta vez como parte del espíritu contrarreformista”, señala el historiador. "
Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.
In 1587 he moved to Santafé where he painted a 'Virgin of Antigua' for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a 'Descent from the Cross', inspired by a painting by Pedro Pablo Rubens, and a 'Lamentation', which belong to the Convent of Santo Domingo de Tunja.
He also painted a 'penitent Mary Magdalene' for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a 'San Antonio de Padua' and a sculpture of 'Nuestra Señora del Socorro'.
In 1600, he traveled to Lima, where he made several paintings, including a 'Señor de la Columna' and works for the chapel of the Ánimas in the cathedral.
He taught in Lima in 1604 and was appointed painter to the Inquisition.After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a 'Santa Margarita' which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year.
It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.”
Reference bibliography:
- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

Angelino Medoro (Naples, 1567 - Seville, 1631)
'The Birth of Jesus'
Oil on canvas. Relined.
97 x 81 cm.
Attached is a study of pigments dating the work to the 16th century.
Estamos sin duda antes uno de los ejemplos más delicados y maravillosos de la influencia del arte italiano, concretamente de Rafael, realizado en el virreinato del Perú, en este caso en nuestra opinión atribuido a la mano de Angelino Medoro.
El rostro de la Virgen es dulce, técnicamente impecable y transmite una gran emoción y mueve a la devoción.
En los últimos años, importantes estudiosos peruanos han resaltado la obra de Rafael como germen del barroco peruano.
Gracias a un artículo de Enrique Planas en el diario El Comercio, leemos entre otras, interesantes declaraciones como la del historiador de arte Luis Eduardo Wuffarden: “señalaba que la inmensa gravitación del pintor italiano está presente en nuestra pintura barroca, tomando como ejemplo un epígono manifiesto como Mateo Pérez de Alesio (Lecce, 1547 - Lima, 1628), artista italiano que dejó en el Perú obras tan memorables como la “Virgen de la leche”, expuesta hoy en la colección del MALI”. 
Continúa el artículo con la respuesta a esta misma cuestión de Ricardo Estabridis, Doctor en Historia del Arte y Profesor Principal de la Universidad Nacional Mayor de San Marcos: “Para él, lo primero por considerar es que fue Rafael de Sanzio quien puso la semilla del “manierismo”, estilo artístico surgido en Italia a comienzos del siglo XVI caracterizado por la abundancia de las formas complejas y poco naturales. “En los últimos años de su vida Rafael plantea el anticlasicismo, poniendo en tela de juicio el Alto Renacimiento vinculado a las instancias Vaticanas. “Su semilla se desarrollará tras su muerte, por ello se considera el año de 1520 como el nacimiento de la primera etapa del manierismo. Un estilo que llega a nosotros gracias a los pintores italianos como Bernardo Bitti, Mateo Pérez de Alesio y Angelino Medoro, que trabajaron en el Perú”, señala el Investigador. "Diario El Comercio. Ahora bien, no se trata de que Bitti, Alesio y Medoro sigan a pie juntillas la línea de Rafael, sin embargo, como señala Estabridis, es el maestro italiano el creador de esta corriente que decide romper con la simetría clásica, y acabar con la preponderancia de los personajes principales anteriormente colocados siempre al centro del cuadro. “El arte barroco propone una vuelta a Rafael, pero no al artista enfrentado a los clásicos sino más bien al autor de sus características y clásicas madonas. Vuelve entonces a realizarse ese tipo de imágenes, cuyo gran ejemplo es “La virgen de la Leche” de Alesio, pintada sobre una plancha de cobre, actualmente parte de la colección del MALI. Hay madonas pintadas por Bitti en la misma línea. Incluso, si nos fijamos en varias de sus obras, podremos advertir que el cuello de la túnica de la virgen tiene el mismo corte cuadrangular de las madonas de Rafael. Es una muestra de su influencia en el vestuario, en la dulzura de la escena y el tratamiento del rostro. Es una vuelta al Rafael clásico esta vez como parte del espíritu contrarreformista”, señala el historiador. "
Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.
In 1587 he moved to Santafé where he painted a 'Virgin of Antigua' for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a 'Descent from the Cross', inspired by a painting by Pedro Pablo Rubens, and a 'Lamentation', which belong to the Convent of Santo Domingo de Tunja.
He also painted a 'penitent Mary Magdalene' for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a 'San Antonio de Padua' and a sculpture of 'Nuestra Señora del Socorro'.
In 1600, he traveled to Lima, where he made several paintings, including a 'Señor de la Columna' and works for the chapel of the Ánimas in the cathedral.
He taught in Lima in 1604 and was appointed painter to the Inquisition.After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a 'Santa Margarita' which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year.
It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.”
Reference bibliography:
- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

Vanitas, Parables and Devotions

Auktionsdatum
Lose: 1-195
Ort der Versteigerung
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Barcelona
08006
Spain

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Stichworte: Peter Paul Rubens, ROA, 15th-18th Century Art, Öl Gemälde, Portrait Painting, Portrait, Oil on Canvas