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Novo-Hispanic school; Last third of the XVIII century. "Divine Shepherdess". Oil on canvas.
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Beschreibung
Novo-Hispanic school; Last third of the XVIII century. "Divine Shepherdess". Oil on canvas. Re-drawn. Measures: 93 x 68,5 cm. The origins of the devotion to the Divine Shepherdess are imprecise until the XVIII century: there are references to Mary as shepherdess in the writings of John the Geometer, St. John of God, St. Peter of Alcantara, the venerable Mary Jesus of Agreda and St. Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Fray Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme to Alonso Miguel de Tovar. Likewise, in 1705 he wrote "La Pastora Coronada" (The Crowned Shepherdess), a work in which he exposed his predictable idea of the Virgin as a shepherdess. In this particular case the representation of the Virgin, differs in a certain way from the writings, it is true that she appears dressed as a shepherdess, surrounded by a flock, but the presence of Jesus distances her from the iconographic pattern. The Child, who is dressed with the same cap as his mother, and a white tunic, is distracted in his own task obviating his mother, who in turn looks towards the viewer. Despite the closeness, as Jesus stands on Mary's legs, both are presented independently, showing their religious task to the viewer. Mary as shepherdess taking care of the flock, as queen of the heavens and Jesus busy with a reed gathering and rescuing the hearts of his faithful. 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, in the early years of the 19th century, already in times of independence and political opening 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; Last third of the XVIII century. "Divine Shepherdess". Oil on canvas. Re-drawn. Measures: 93 x 68,5 cm. The origins of the devotion to the Divine Shepherdess are imprecise until the XVIII century: there are references to Mary as shepherdess in the writings of John the Geometer, St. John of God, St. Peter of Alcantara, the venerable Mary Jesus of Agreda and St. Mary of the Five Wounds, although its widespread diffusion is due to a Capuchin priest of great Marian devotion, Fray Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme to Alonso Miguel de Tovar. Likewise, in 1705 he wrote "La Pastora Coronada" (The Crowned Shepherdess), a work in which he exposed his predictable idea of the Virgin as a shepherdess. In this particular case the representation of the Virgin, differs in a certain way from the writings, it is true that she appears dressed as a shepherdess, surrounded by a flock, but the presence of Jesus distances her from the iconographic pattern. The Child, who is dressed with the same cap as his mother, and a white tunic, is distracted in his own task obviating his mother, who in turn looks towards the viewer. Despite the closeness, as Jesus stands on Mary's legs, both are presented independently, showing their religious task to the viewer. Mary as shepherdess taking care of the flock, as queen of the heavens and Jesus busy with a reed gathering and rescuing the hearts of his faithful. 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, in the early years of the 19th century, already in times of independence and political opening 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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