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Novo-Hispanic School; 18th century."Virgin of Guadalupe".Oil on canvas. Re-retouched.It presents
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Beschreibung
Novo-Hispanic School; 18th century.
"Virgin of Guadalupe".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 122 x 88,5 cm.
Since the viceregal period a complex iconography has developed around the cult of the Virgin, and a great artistic production that is characterised by the conjunction of the local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the Apocalyptic and Sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. Occasionally other symbols will appear, taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. They are biblical metaphors popularised by the Litany of the Virgin of Loreto and widely used by painters of the Spanish school of the 16th century: the rose, the star, the enclosed garden, the fountain, the cedar of Lebanon, the olive tree, the lily, the spotless mirror, the Tower of David and the Gate of Heaven.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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; however, it was not until the early 19th century, at the time of independence and the political opening up of some of the colonies, that several artists began to represent a new model of painting with its own identity.
"Virgin of Guadalupe".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 122 x 88,5 cm.
Since the viceregal period a complex iconography has developed around the cult of the Virgin, and a great artistic production that is characterised by the conjunction of the local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the Apocalyptic and Sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. Occasionally other symbols will appear, taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. They are biblical metaphors popularised by the Litany of the Virgin of Loreto and widely used by painters of the Spanish school of the 16th century: the rose, the star, the enclosed garden, the fountain, the cedar of Lebanon, the olive tree, the lily, the spotless mirror, the Tower of David and the Gate of Heaven.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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; however, it was not until the early 19th century, at the time of independence and the political opening up of some of the colonies, that several artists began to represent a new model of painting with its own identity.
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Novo-Hispanic School; 18th century.
"Virgin of Guadalupe".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 122 x 88,5 cm.
Since the viceregal period a complex iconography has developed around the cult of the Virgin, and a great artistic production that is characterised by the conjunction of the local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the Apocalyptic and Sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. Occasionally other symbols will appear, taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. They are biblical metaphors popularised by the Litany of the Virgin of Loreto and widely used by painters of the Spanish school of the 16th century: the rose, the star, the enclosed garden, the fountain, the cedar of Lebanon, the olive tree, the lily, the spotless mirror, the Tower of David and the Gate of Heaven.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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; however, it was not until the early 19th century, at the time of independence and the political opening up of some of the colonies, that several artists began to represent a new model of painting with its own identity.
"Virgin of Guadalupe".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 122 x 88,5 cm.
Since the viceregal period a complex iconography has developed around the cult of the Virgin, and a great artistic production that is characterised by the conjunction of the local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the Apocalyptic and Sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. Occasionally other symbols will appear, taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. They are biblical metaphors popularised by the Litany of the Virgin of Loreto and widely used by painters of the Spanish school of the 16th century: the rose, the star, the enclosed garden, the fountain, the cedar of Lebanon, the olive tree, the lily, the spotless mirror, the Tower of David and the Gate of Heaven.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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; however, it was not until the early 19th century, at the time of independence and the political opening up of some of the colonies, that 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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