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Novo-Hispanic school; XVIII century. "Virgin of Charity. Oil on canvas. Presents repainting and
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Beschreibung
Novo-Hispanic school; XVIII century. "Virgin of Charity. Oil on canvas. Presents repainting and restorations. Signed Sáenz Labradillo in the lower lateral areas. Size: 87 x 60 cm; 117 x 88.5 cm (frame). The author of this work conceives the religious scene from a theatricalized perspective, which is deduced from the use of a curtain that opens to the devotional image, in the upper zone of the scene thanks to the help of some little angels. The author seems to portray an altar, since the pictorial treatment is close to a sculptural view of the image of the Virgin. A resource that was widely popularized, since it tried to reproduce with exactitude the devotional images that were venerated in each locality. In this case, due to the iconographic attributes that it presents, it is probable that the work represents the invocation of the Virgin of Charity. According to the religious legend Juan and Rodrigo de Hoyos, with the intention of collecting salt, they were leaving Cayo Francés in the Bay of Nipeen Cuba, when they observed something floating in the sea, when approaching they saw that it was an image of the Virgin Mary that was floating on a wood in which was the inscription: "I Am The Virgin of Charity". The denomination of Virgin of the copper derives from the Yoruba tradition, which assimilated the qualities of the virgin as those of Oricha, the owner of the copper. The popularity and devotional assimilation of the virgin in Cuban culture developed rapidly and in 1998 she became its patron saint. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening 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; XVIII century. "Virgin of Charity. Oil on canvas. Presents repainting and restorations. Signed Sáenz Labradillo in the lower lateral areas. Size: 87 x 60 cm; 117 x 88.5 cm (frame). The author of this work conceives the religious scene from a theatricalized perspective, which is deduced from the use of a curtain that opens to the devotional image, in the upper zone of the scene thanks to the help of some little angels. The author seems to portray an altar, since the pictorial treatment is close to a sculptural view of the image of the Virgin. A resource that was widely popularized, since it tried to reproduce with exactitude the devotional images that were venerated in each locality. In this case, due to the iconographic attributes that it presents, it is probable that the work represents the invocation of the Virgin of Charity. According to the religious legend Juan and Rodrigo de Hoyos, with the intention of collecting salt, they were leaving Cayo Francés in the Bay of Nipeen Cuba, when they observed something floating in the sea, when approaching they saw that it was an image of the Virgin Mary that was floating on a wood in which was the inscription: "I Am The Virgin of Charity". The denomination of Virgin of the copper derives from the Yoruba tradition, which assimilated the qualities of the virgin as those of Oricha, the owner of the copper. The popularity and devotional assimilation of the virgin in Cuban culture developed rapidly and in 1998 she became its patron saint. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening 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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