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JOSÉ MARÍA VÁZQUEZ (Mexico, 1765 - 18th century)."Virgen de los Dolores", 1810.Oil on copper.It
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Description
JOSÉ MARÍA VÁZQUEZ (Mexico, 1765 - 18th century).
"Virgen de los Dolores", 1810.
Oil on copper.
It has repainting.
Preserves original frame in carved and gilded wood.
Signed and dated in the lower right corner.
Measurements: 46,5 x 35 cm; 54,5 x 43 cm (frame).
The Virgin in front of the wood of the cross, which cannot be appreciated in its totality, is shown in sorrow and compunction with her hands on her chest and on them the silver reflection of the dagger. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out for its importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
The work is attributed to the colonial painter José María Vázquez, also known as Vásquez. He received his academic training at an early age under the guidance of the painter Rafael Ximeno y Planes, and later studied at the San Carlos Academy in Mexico. In 1972, thanks to a scholarship granted by his country, he was awarded a scholarship to travel with other fellow students to Spain to continue his artistic education at the Academia de Bellas Artes de San Fernando. However, this trip did not materialise. His work was widely applauded by the critics and the society of his time, who considered him one of the most famous portraitists.
"Virgen de los Dolores", 1810.
Oil on copper.
It has repainting.
Preserves original frame in carved and gilded wood.
Signed and dated in the lower right corner.
Measurements: 46,5 x 35 cm; 54,5 x 43 cm (frame).
The Virgin in front of the wood of the cross, which cannot be appreciated in its totality, is shown in sorrow and compunction with her hands on her chest and on them the silver reflection of the dagger. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out for its importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
The work is attributed to the colonial painter José María Vázquez, also known as Vásquez. He received his academic training at an early age under the guidance of the painter Rafael Ximeno y Planes, and later studied at the San Carlos Academy in Mexico. In 1972, thanks to a scholarship granted by his country, he was awarded a scholarship to travel with other fellow students to Spain to continue his artistic education at the Academia de Bellas Artes de San Fernando. However, this trip did not materialise. His work was widely applauded by the critics and the society of his time, who considered him one of the most famous portraitists.
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JOSÉ MARÍA VÁZQUEZ (Mexico, 1765 - 18th century).
"Virgen de los Dolores", 1810.
Oil on copper.
It has repainting.
Preserves original frame in carved and gilded wood.
Signed and dated in the lower right corner.
Measurements: 46,5 x 35 cm; 54,5 x 43 cm (frame).
The Virgin in front of the wood of the cross, which cannot be appreciated in its totality, is shown in sorrow and compunction with her hands on her chest and on them the silver reflection of the dagger. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out for its importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
The work is attributed to the colonial painter José María Vázquez, also known as Vásquez. He received his academic training at an early age under the guidance of the painter Rafael Ximeno y Planes, and later studied at the San Carlos Academy in Mexico. In 1972, thanks to a scholarship granted by his country, he was awarded a scholarship to travel with other fellow students to Spain to continue his artistic education at the Academia de Bellas Artes de San Fernando. However, this trip did not materialise. His work was widely applauded by the critics and the society of his time, who considered him one of the most famous portraitists.
"Virgen de los Dolores", 1810.
Oil on copper.
It has repainting.
Preserves original frame in carved and gilded wood.
Signed and dated in the lower right corner.
Measurements: 46,5 x 35 cm; 54,5 x 43 cm (frame).
The Virgin in front of the wood of the cross, which cannot be appreciated in its totality, is shown in sorrow and compunction with her hands on her chest and on them the silver reflection of the dagger. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out for its importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
The work is attributed to the colonial painter José María Vázquez, also known as Vásquez. He received his academic training at an early age under the guidance of the painter Rafael Ximeno y Planes, and later studied at the San Carlos Academy in Mexico. In 1972, thanks to a scholarship granted by his country, he was awarded a scholarship to travel with other fellow students to Spain to continue his artistic education at the Academia de Bellas Artes de San Fernando. However, this trip did not materialise. His work was widely applauded by the critics and the society of his time, who considered him one of the most famous portraitists.
10th March - Old Masters from America and Europe
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