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Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)
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Beschreibung
Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)
“Immaculate Conception”
Oil on canvas.
51 x 40 cm.
The Immaculate Conception, attributed to Antonio José Landaeta, master painter and gilder active in Caracas between 1748 and 1799, is an oil on canvas of small dimensions, characteristic of the Venezuelan school of the 18th century.
At first sight, we observe an exquisite image of a young woman, dressed in a white tunic and with a blue mantle superimposed with her hands together almost subtly crossed over her chest against a background or sea of clouds of golden tones, and a cascade of cherubs and angels.
Compared with other works by Landaeta and with the portrayals of the Immaculate Conception in the Cisneros and Santaella Garrido collections, this painting shares a similar approach to composition and symbolism. However, there are differences in the tones and distribution of the decorative elements, suggesting a stylistic evolution within the Landaeta workshop. When analyzing the other two comparative paintings, we observe that the curtains and the backgrounds have similarities in the brocade technique and in the depiction of the cherubs, which reinforces the stylistic coherence within the artist's work.
Likewise, we observe a delicacy in the handling of proportions and an attention to detail that denotes academic influences and that locate the work in the late Venezuelan baroque, with aspects that stand out in much of Landaeta's work, such as the use of soft tones and the fluidity in the folds of the clothing, which reflect an interest in naturalness and movement. In addition, the chromatic palette of soft tones, with a predominance of ochers and pinks in the backgrounds, is a distinctive characteristic of Landaeta and the school that bears his name. This treatment, together with the expert handling of the drawing and the decorative details, underlines the mature style of his work. All this reaffirms the attribution of this painting of the Immaculate Conception to the artist.
Landaeta was part of a historical context in which the Catholic Church promoted intense devotion to the Virgin Mary, reflected in this painting. In Caracas, artistic activity was linked to both religious orders and local elites, who commissioned artworks that reflected their faith and social status. Landaeta, as a painter and gilder, contributed to this tradition not only with highly symbolic paintings, but also with decorative commissions for churches and confraternities. His workshop, shared with his brother Juan José, produced art that combined local influences with European models, adapting engravings and compositions spread from Spain and other parts of the American continent.
Iconographically, this portrayal of the Immaculate Conception follows a European model widely disseminated in Latin America, inspired by engravings such as those of J. Salvador Carmona, based on paintings by Mateo Cerezo. However, Landaeta's version introduces local elements, such as warmer tones and the dynamic arrangement of the cherubs. These details reinforce the connection between the Virgin and the faithful, highlighting her role as intercessor and protector in a context of religious fervor.
The painting was intended to spread the dogma of the Immaculate Virgin, much more complex than the simple virginity before, during and after the birth of Jesus; and that throughout history has been the cause of controversies and disputes, of defenders and detractors. The former, led by Franciscans and later by Jesuits, ardent supporters of this dogma who based their defense on texts by John Duns Scotus (13th century). Among the detractors, the Dominican order stands out, with a more erudite theological base that made its main philosopher Thomas Aquinas (13th century) reject this concept. To highlight the painting, two of the large angels, to the right and left of the Lady, hold four symbolisms of the Lauretan Litanies: a palm of martyrdom, symbolizing Mary as Queen of martyrs; and a rose held in the other hand, referring to Mary as a mystical Rose; the other angel carries a lily of the field and a mirror, projecting Mary as a mirror of justice. The Lauretan Litanies present here are a compilation of metaphors, taken from sacred texts, mainly from the Song of Songs in the Old Testament, which were used to praise the Virgin Mary and as a means of prayer, based on constant repetition. We see, therefore, a perfectly defined image, the image of the Virgin, at the same time as a concept as elusive as that of the virginal Conception. We see her reflected in the baroque artistic style that envelops her, full of rapture, movement, exuberance, flying drapery and details, even the air that keeps everything moving.
Reference bibliography:
- Boulton, Alfredo. (1975). “Historia de la pintura en Venezuela. Época colonial, vol. I”. Ernesto Armitano Editor.
- Duarte, Carlos (2000). “Diccionario biográfico documental. Pintores, escultores y doradores en Venezuela”. Fundación Galería de Arte Nacional, Fundación Polar.
- Galería de Arte Nacional. (1982). “Diccionario de las Artes Visuales en Venezuela”, vol. I. Monte Ávila Editores.
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Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)
“Immaculate Conception”
Oil on canvas.
51 x 40 cm.
The Immaculate Conception, attributed to Antonio José Landaeta, master painter and gilder active in Caracas between 1748 and 1799, is an oil on canvas of small dimensions, characteristic of the Venezuelan school of the 18th century.
At first sight, we observe an exquisite image of a young woman, dressed in a white tunic and with a blue mantle superimposed with her hands together almost subtly crossed over her chest against a background or sea of clouds of golden tones, and a cascade of cherubs and angels.
Compared with other works by Landaeta and with the portrayals of the Immaculate Conception in the Cisneros and Santaella Garrido collections, this painting shares a similar approach to composition and symbolism. However, there are differences in the tones and distribution of the decorative elements, suggesting a stylistic evolution within the Landaeta workshop. When analyzing the other two comparative paintings, we observe that the curtains and the backgrounds have similarities in the brocade technique and in the depiction of the cherubs, which reinforces the stylistic coherence within the artist's work.
Likewise, we observe a delicacy in the handling of proportions and an attention to detail that denotes academic influences and that locate the work in the late Venezuelan baroque, with aspects that stand out in much of Landaeta's work, such as the use of soft tones and the fluidity in the folds of the clothing, which reflect an interest in naturalness and movement. In addition, the chromatic palette of soft tones, with a predominance of ochers and pinks in the backgrounds, is a distinctive characteristic of Landaeta and the school that bears his name. This treatment, together with the expert handling of the drawing and the decorative details, underlines the mature style of his work. All this reaffirms the attribution of this painting of the Immaculate Conception to the artist.
Landaeta was part of a historical context in which the Catholic Church promoted intense devotion to the Virgin Mary, reflected in this painting. In Caracas, artistic activity was linked to both religious orders and local elites, who commissioned artworks that reflected their faith and social status. Landaeta, as a painter and gilder, contributed to this tradition not only with highly symbolic paintings, but also with decorative commissions for churches and confraternities. His workshop, shared with his brother Juan José, produced art that combined local influences with European models, adapting engravings and compositions spread from Spain and other parts of the American continent.
Iconographically, this portrayal of the Immaculate Conception follows a European model widely disseminated in Latin America, inspired by engravings such as those of J. Salvador Carmona, based on paintings by Mateo Cerezo. However, Landaeta's version introduces local elements, such as warmer tones and the dynamic arrangement of the cherubs. These details reinforce the connection between the Virgin and the faithful, highlighting her role as intercessor and protector in a context of religious fervor.
The painting was intended to spread the dogma of the Immaculate Virgin, much more complex than the simple virginity before, during and after the birth of Jesus; and that throughout history has been the cause of controversies and disputes, of defenders and detractors. The former, led by Franciscans and later by Jesuits, ardent supporters of this dogma who based their defense on texts by John Duns Scotus (13th century). Among the detractors, the Dominican order stands out, with a more erudite theological base that made its main philosopher Thomas Aquinas (13th century) reject this concept. To highlight the painting, two of the large angels, to the right and left of the Lady, hold four symbolisms of the Lauretan Litanies: a palm of martyrdom, symbolizing Mary as Queen of martyrs; and a rose held in the other hand, referring to Mary as a mystical Rose; the other angel carries a lily of the field and a mirror, projecting Mary as a mirror of justice. The Lauretan Litanies present here are a compilation of metaphors, taken from sacred texts, mainly from the Song of Songs in the Old Testament, which were used to praise the Virgin Mary and as a means of prayer, based on constant repetition. We see, therefore, a perfectly defined image, the image of the Virgin, at the same time as a concept as elusive as that of the virginal Conception. We see her reflected in the baroque artistic style that envelops her, full of rapture, movement, exuberance, flying drapery and details, even the air that keeps everything moving.
Reference bibliography:
- Boulton, Alfredo. (1975). “Historia de la pintura en Venezuela. Época colonial, vol. I”. Ernesto Armitano Editor.
- Duarte, Carlos (2000). “Diccionario biográfico documental. Pintores, escultores y doradores en Venezuela”. Fundación Galería de Arte Nacional, Fundación Polar.
- Galería de Arte Nacional. (1982). “Diccionario de las Artes Visuales en Venezuela”, vol. I. Monte Ávila Editores.
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
We remind our customers that, as indicated in our conditions of sale, for works over 100 years old, an export license from the Spanish Ministry of Culture is required.
This procedure is carried out by us free of charge for our clients.
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
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From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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