101
Novo-Hispanic school; second half of the 17th century."Saint Rose of Lima with the Infant Jesus".Oil
1/7
Beschreibung
Novo-Hispanic school; second half of the 17th century.
"Saint Rose of Lima with the Infant Jesus".
Oil on canvas. Preserves its original canvas.
It has visible perforations, covered with patches on the back.
Needs restoration.
Measurements: 180 x 113 cm; 170 x 103,5 cm (frame).
The figure of Saint Rose of Lima is inscribed on an architectural band. Configured in a sculptural manner, the woman is placed in the centre of the composition, dressed in religious clothing and holding the Child Jesus with her right arm. The Child is crowned with a garland of flowers and in her hand she holds another floral wreath, the recipient of which appears to be the saint. The presence of flowers extends throughout the work, as floral arrangements make up the corners of the canvas, and the saint also holds a delicate flower in her left hand. It is worth noting the artist's great interest in the qualities and detail used in a realistic reproduction of the group of flowers, and another notable feature is the sweetness with which the faces of the figures have been treated, which stand out against the rougher elements of the drawing, such as the saint's hand, for example. Isabel de Flores Oliva (Lima, 1586-1617), better known as Saint Rose of Lima, was a Peruvian saint and Dominican mystic canonised in 1671. She is the first saint of America, patron saint of Lima and Peru since 1669 and of the New World and the Philippines since 1670. In 1615, Dutch corsairs decided to attack the city of Lima, and the news soon spread among the population. In response, Rosa gathered the women of Lima in the church to pray for Lima's salvation. The saint went up to the altar and, cutting off her clothes and rolling up her sleeves, placed her body to defend Christ in the tabernacle. Mysteriously, the captain of the Dutch fleet died on his ship a few days later, which led to the withdrawal of the ships. In Lima, everyone attributed the miracle to Rosa, which is why she is often depicted facing the sea, praying to God for protection against corsairs.
It is worth mentioning that during Spanish colonial rule, painting was mainly religious, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography, an iconography that gradually changed as Christianisation took hold. This was largely due to the absorption of important cultural figures as part of the Christian tradition, and to the adoption of a new saints' calendar linked to local events and customs. The most common models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to depict a new model of painting with its own identity.
"Saint Rose of Lima with the Infant Jesus".
Oil on canvas. Preserves its original canvas.
It has visible perforations, covered with patches on the back.
Needs restoration.
Measurements: 180 x 113 cm; 170 x 103,5 cm (frame).
The figure of Saint Rose of Lima is inscribed on an architectural band. Configured in a sculptural manner, the woman is placed in the centre of the composition, dressed in religious clothing and holding the Child Jesus with her right arm. The Child is crowned with a garland of flowers and in her hand she holds another floral wreath, the recipient of which appears to be the saint. The presence of flowers extends throughout the work, as floral arrangements make up the corners of the canvas, and the saint also holds a delicate flower in her left hand. It is worth noting the artist's great interest in the qualities and detail used in a realistic reproduction of the group of flowers, and another notable feature is the sweetness with which the faces of the figures have been treated, which stand out against the rougher elements of the drawing, such as the saint's hand, for example. Isabel de Flores Oliva (Lima, 1586-1617), better known as Saint Rose of Lima, was a Peruvian saint and Dominican mystic canonised in 1671. She is the first saint of America, patron saint of Lima and Peru since 1669 and of the New World and the Philippines since 1670. In 1615, Dutch corsairs decided to attack the city of Lima, and the news soon spread among the population. In response, Rosa gathered the women of Lima in the church to pray for Lima's salvation. The saint went up to the altar and, cutting off her clothes and rolling up her sleeves, placed her body to defend Christ in the tabernacle. Mysteriously, the captain of the Dutch fleet died on his ship a few days later, which led to the withdrawal of the ships. In Lima, everyone attributed the miracle to Rosa, which is why she is often depicted facing the sea, praying to God for protection against corsairs.
It is worth mentioning that during Spanish colonial rule, painting was mainly religious, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography, an iconography that gradually changed as Christianisation took hold. This was largely due to the absorption of important cultural figures as part of the Christian tradition, and to the adoption of a new saints' calendar linked to local events and customs. The most common models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to depict a new model of painting with its own identity.
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Novo-Hispanic school; second half of the 17th century.
"Saint Rose of Lima with the Infant Jesus".
Oil on canvas. Preserves its original canvas.
It has visible perforations, covered with patches on the back.
Needs restoration.
Measurements: 180 x 113 cm; 170 x 103,5 cm (frame).
The figure of Saint Rose of Lima is inscribed on an architectural band. Configured in a sculptural manner, the woman is placed in the centre of the composition, dressed in religious clothing and holding the Child Jesus with her right arm. The Child is crowned with a garland of flowers and in her hand she holds another floral wreath, the recipient of which appears to be the saint. The presence of flowers extends throughout the work, as floral arrangements make up the corners of the canvas, and the saint also holds a delicate flower in her left hand. It is worth noting the artist's great interest in the qualities and detail used in a realistic reproduction of the group of flowers, and another notable feature is the sweetness with which the faces of the figures have been treated, which stand out against the rougher elements of the drawing, such as the saint's hand, for example. Isabel de Flores Oliva (Lima, 1586-1617), better known as Saint Rose of Lima, was a Peruvian saint and Dominican mystic canonised in 1671. She is the first saint of America, patron saint of Lima and Peru since 1669 and of the New World and the Philippines since 1670. In 1615, Dutch corsairs decided to attack the city of Lima, and the news soon spread among the population. In response, Rosa gathered the women of Lima in the church to pray for Lima's salvation. The saint went up to the altar and, cutting off her clothes and rolling up her sleeves, placed her body to defend Christ in the tabernacle. Mysteriously, the captain of the Dutch fleet died on his ship a few days later, which led to the withdrawal of the ships. In Lima, everyone attributed the miracle to Rosa, which is why she is often depicted facing the sea, praying to God for protection against corsairs.
It is worth mentioning that during Spanish colonial rule, painting was mainly religious, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography, an iconography that gradually changed as Christianisation took hold. This was largely due to the absorption of important cultural figures as part of the Christian tradition, and to the adoption of a new saints' calendar linked to local events and customs. The most common models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to depict a new model of painting with its own identity.
"Saint Rose of Lima with the Infant Jesus".
Oil on canvas. Preserves its original canvas.
It has visible perforations, covered with patches on the back.
Needs restoration.
Measurements: 180 x 113 cm; 170 x 103,5 cm (frame).
The figure of Saint Rose of Lima is inscribed on an architectural band. Configured in a sculptural manner, the woman is placed in the centre of the composition, dressed in religious clothing and holding the Child Jesus with her right arm. The Child is crowned with a garland of flowers and in her hand she holds another floral wreath, the recipient of which appears to be the saint. The presence of flowers extends throughout the work, as floral arrangements make up the corners of the canvas, and the saint also holds a delicate flower in her left hand. It is worth noting the artist's great interest in the qualities and detail used in a realistic reproduction of the group of flowers, and another notable feature is the sweetness with which the faces of the figures have been treated, which stand out against the rougher elements of the drawing, such as the saint's hand, for example. Isabel de Flores Oliva (Lima, 1586-1617), better known as Saint Rose of Lima, was a Peruvian saint and Dominican mystic canonised in 1671. She is the first saint of America, patron saint of Lima and Peru since 1669 and of the New World and the Philippines since 1670. In 1615, Dutch corsairs decided to attack the city of Lima, and the news soon spread among the population. In response, Rosa gathered the women of Lima in the church to pray for Lima's salvation. The saint went up to the altar and, cutting off her clothes and rolling up her sleeves, placed her body to defend Christ in the tabernacle. Mysteriously, the captain of the Dutch fleet died on his ship a few days later, which led to the withdrawal of the ships. In Lima, everyone attributed the miracle to Rosa, which is why she is often depicted facing the sea, praying to God for protection against corsairs.
It is worth mentioning that during Spanish colonial rule, painting was mainly religious, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography, an iconography that gradually changed as Christianisation took hold. This was largely due to the absorption of important cultural figures as part of the Christian tradition, and to the adoption of a new saints' calendar linked to local events and customs. The most common models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to depict a new model of painting with its own identity.
10th March - Old Masters from America and Europe
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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