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Novo-Hispanic School; Mexico, 18th century."Virgin of Guadalupe".Oil on copper.Measurements: 15,5
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Description
Novo-Hispanic School; Mexico, 18th century.
"Virgin of Guadalupe".
Oil on copper.
Measurements: 15,5 x 12 cm.
The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An old legend narrates that, in 1531, she appeared to a recently baptised Indian, called Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.
The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. The clouds at her feet indicate her character of "Tota Pulchra". She may also be accompanied by symbols taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. These are biblical metaphors popularised by the Litany of the Virgin of Loreto, and widely used by painters of the Spanish school of the 16th century.
"Virgin of Guadalupe".
Oil on copper.
Measurements: 15,5 x 12 cm.
The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An old legend narrates that, in 1531, she appeared to a recently baptised Indian, called Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.
The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. The clouds at her feet indicate her character of "Tota Pulchra". She may also be accompanied by symbols taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. These are biblical metaphors popularised by the Litany of the Virgin of Loreto, and widely used by painters of the Spanish school of the 16th century.
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Novo-Hispanic School; Mexico, 18th century.
"Virgin of Guadalupe".
Oil on copper.
Measurements: 15,5 x 12 cm.
The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An old legend narrates that, in 1531, she appeared to a recently baptised Indian, called Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.
The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. The clouds at her feet indicate her character of "Tota Pulchra". She may also be accompanied by symbols taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. These are biblical metaphors popularised by the Litany of the Virgin of Loreto, and widely used by painters of the Spanish school of the 16th century.
"Virgin of Guadalupe".
Oil on copper.
Measurements: 15,5 x 12 cm.
The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An old legend narrates that, in 1531, she appeared to a recently baptised Indian, called Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.
The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It consists of a large number of symbols taken from the Song of Songs and the Apocalypse. The crescent moon is taken from the text of Saint John, evoking Diana's chastity and, later, her victory over the Turks; the angels surrounding her, the mandorla of sunbeams, the hands in prayer and the crown of twelve stars, symbol of fullness. The clouds at her feet indicate her character of "Tota Pulchra". She may also be accompanied by symbols taken from the Song of Songs, to whose bride the Immaculate Conception is assimilated. These are biblical metaphors popularised by the Litany of the Virgin of Loreto, and widely used by painters of the Spanish school of the 16th century.
28th September - Old Masters
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