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Novo-Hispanic school; circa 1704."Saint Francis Xavier as Patron of the American Territories".Oil on
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Beschreibung
Novo-Hispanic school; circa 1704.
"Saint Francis Xavier as Patron of the American Territories".
Oil on canvas. Re-drawn.
Measurements: 284 x 203 cm.
This altar panel shows a scene that shows Saint Francis Xavier pronouncing a sermon, on a marble platform that stands out because of the illumination it gives off. The composition has the saint as its main focus, and as such is also notable for its height and illumination. The saint, located in the centre of the scene, is blessing a crowd of people. In one of his hands he holds a crucifix with the figure of Jesus, while with the other he raises a bell, which he seems to be using to alert the large group around him. A group of people, situated in a lower space, approach his figure, some of them paying attention to him and looking directly at them, while others comment among themselves. The exotic nature of the land is indicated by the feathered headdresses of some of the figures, who are otherwise dressed in the classical style of tunic and cloak. In the lower area inscribed in a border we can read: "The Marquis of Campo de Fran Félix de la Vega, knight of the Order of Santiago, being a Castilian from Capua in the Kingdom of Naples, dedicated this altar to the glorious apostle of the Indies out of his devotion and as the fourth grandson of the Lord's brother". Saint Francis Xavier (Castillo de Javier, 1506 - Sanchón, China, 1552), priest, religious and missionary of the Society of Jesus who was noted for his journeys to India and East Asia. He is depicted in one of the missions he undertook, although the figures are not dressed in the Chinese fashion but are characterised more as American Indians, in keeping with the painter's idea (and that of the period) of an exotic appearance and the examples he knew of "pagan" people.
It is worth noting that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins. Despite this influence of Spanish painting, it is worth mentioning that the establishment of the Viceroyalties was a period of artistic fecundity, fostering commissions for numerous pictorial works, sculptures and architectural structures that could satisfy the establishment of the institutions. However, in the early years of the 19th century, at the time of the independence and political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Saint Francis Xavier as Patron of the American Territories".
Oil on canvas. Re-drawn.
Measurements: 284 x 203 cm.
This altar panel shows a scene that shows Saint Francis Xavier pronouncing a sermon, on a marble platform that stands out because of the illumination it gives off. The composition has the saint as its main focus, and as such is also notable for its height and illumination. The saint, located in the centre of the scene, is blessing a crowd of people. In one of his hands he holds a crucifix with the figure of Jesus, while with the other he raises a bell, which he seems to be using to alert the large group around him. A group of people, situated in a lower space, approach his figure, some of them paying attention to him and looking directly at them, while others comment among themselves. The exotic nature of the land is indicated by the feathered headdresses of some of the figures, who are otherwise dressed in the classical style of tunic and cloak. In the lower area inscribed in a border we can read: "The Marquis of Campo de Fran Félix de la Vega, knight of the Order of Santiago, being a Castilian from Capua in the Kingdom of Naples, dedicated this altar to the glorious apostle of the Indies out of his devotion and as the fourth grandson of the Lord's brother". Saint Francis Xavier (Castillo de Javier, 1506 - Sanchón, China, 1552), priest, religious and missionary of the Society of Jesus who was noted for his journeys to India and East Asia. He is depicted in one of the missions he undertook, although the figures are not dressed in the Chinese fashion but are characterised more as American Indians, in keeping with the painter's idea (and that of the period) of an exotic appearance and the examples he knew of "pagan" people.
It is worth noting that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins. Despite this influence of Spanish painting, it is worth mentioning that the establishment of the Viceroyalties was a period of artistic fecundity, fostering commissions for numerous pictorial works, sculptures and architectural structures that could satisfy the establishment of the institutions. However, in the early years of the 19th century, at the time of the independence and political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
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Novo-Hispanic school; circa 1704.
"Saint Francis Xavier as Patron of the American Territories".
Oil on canvas. Re-drawn.
Measurements: 284 x 203 cm.
This altar panel shows a scene that shows Saint Francis Xavier pronouncing a sermon, on a marble platform that stands out because of the illumination it gives off. The composition has the saint as its main focus, and as such is also notable for its height and illumination. The saint, located in the centre of the scene, is blessing a crowd of people. In one of his hands he holds a crucifix with the figure of Jesus, while with the other he raises a bell, which he seems to be using to alert the large group around him. A group of people, situated in a lower space, approach his figure, some of them paying attention to him and looking directly at them, while others comment among themselves. The exotic nature of the land is indicated by the feathered headdresses of some of the figures, who are otherwise dressed in the classical style of tunic and cloak. In the lower area inscribed in a border we can read: "The Marquis of Campo de Fran Félix de la Vega, knight of the Order of Santiago, being a Castilian from Capua in the Kingdom of Naples, dedicated this altar to the glorious apostle of the Indies out of his devotion and as the fourth grandson of the Lord's brother". Saint Francis Xavier (Castillo de Javier, 1506 - Sanchón, China, 1552), priest, religious and missionary of the Society of Jesus who was noted for his journeys to India and East Asia. He is depicted in one of the missions he undertook, although the figures are not dressed in the Chinese fashion but are characterised more as American Indians, in keeping with the painter's idea (and that of the period) of an exotic appearance and the examples he knew of "pagan" people.
It is worth noting that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins. Despite this influence of Spanish painting, it is worth mentioning that the establishment of the Viceroyalties was a period of artistic fecundity, fostering commissions for numerous pictorial works, sculptures and architectural structures that could satisfy the establishment of the institutions. However, in the early years of the 19th century, at the time of the independence and political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Saint Francis Xavier as Patron of the American Territories".
Oil on canvas. Re-drawn.
Measurements: 284 x 203 cm.
This altar panel shows a scene that shows Saint Francis Xavier pronouncing a sermon, on a marble platform that stands out because of the illumination it gives off. The composition has the saint as its main focus, and as such is also notable for its height and illumination. The saint, located in the centre of the scene, is blessing a crowd of people. In one of his hands he holds a crucifix with the figure of Jesus, while with the other he raises a bell, which he seems to be using to alert the large group around him. A group of people, situated in a lower space, approach his figure, some of them paying attention to him and looking directly at them, while others comment among themselves. The exotic nature of the land is indicated by the feathered headdresses of some of the figures, who are otherwise dressed in the classical style of tunic and cloak. In the lower area inscribed in a border we can read: "The Marquis of Campo de Fran Félix de la Vega, knight of the Order of Santiago, being a Castilian from Capua in the Kingdom of Naples, dedicated this altar to the glorious apostle of the Indies out of his devotion and as the fourth grandson of the Lord's brother". Saint Francis Xavier (Castillo de Javier, 1506 - Sanchón, China, 1552), priest, religious and missionary of the Society of Jesus who was noted for his journeys to India and East Asia. He is depicted in one of the missions he undertook, although the figures are not dressed in the Chinese fashion but are characterised more as American Indians, in keeping with the painter's idea (and that of the period) of an exotic appearance and the examples he knew of "pagan" people.
It is worth noting that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins. Despite this influence of Spanish painting, it is worth mentioning that the establishment of the Viceroyalties was a period of artistic fecundity, fostering commissions for numerous pictorial works, sculptures and architectural structures that could satisfy the establishment of the institutions. However, in the early years of the 19th century, at the time of the independence and political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
10th March - Old Masters from America and Europe
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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