121
Attributed to Baltasar Vargas de Figueroa (Santafé de Bogotá, Colombia, 1629 - 1667).
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Beschreibung
Attributed to Baltasar Vargas de Figueroa (Santafé de Bogotá, Colombia, 1629 - 1667)."Christ the Redeemer"Oil on canvas. Relined. 178 x 103 cm. This painting is based on the engraving "Vera Effigies D. N. Iesv Christi" by Karl Stengel (1581 - 1663) made in Ausburg, 1656. (PESSCA 1219A, https://colonialart.org/artworks/1219A). Our painting is comparable to the Christ the Redeemer which is kept in the Santa Clara Monastery, in Tunja, Colombia, as we can see in the characteristic work on the clouds and the deep parallel folds in Christ’s tunic, There are also similarities, especially in the model used for the figure of Christ, in the painting attributed to Vargas de Figueroa “Apparition of Saint Dominic de Guzmán to Saint Teresa” which is kept in the Board Room of the Rectory of the University of the Andes and which probably came from the Dominican Convent of Our Lady of the Rosary in Bogotá. Moreover, our painting reflects one of Vargas de Figueroa’s important characteristics, as his weak point was painting hands. As we can see, they are rather more crudely finished, whilst the face, as was typical, is delicate and carefully done. Vargas de Figueroa was the son and grandson of artists. His grandfather was Baltasar de Figueroa, “The older” (16th – 17th century), who founded a dynasty of artists in Santafé, opened a workshop where he trained his son Gaspar (1594-1658), who later became the Master of his own son, the painter who now concerns us - Baltasar Vargas de Figueroa (1629-1667). Both were later masters of Gregorio Vásquez de Arce y Ceballos and later still Gregorio Carballo de la Parra. Santafé would become an important hub for creole artists, as alongside the Figueroa workshop, the Acero de la Cruz brothers, the painter Juan Francisco de Ochoa, the Fernández de Heredia family and the Vásquez family also opened workshops. All of these were at the service of the Church and the spread of the Christian message, prolonging Spanish themes and forms. The historian Francisco Gil Tovar wrote of this purpose: “This is a provincial Spanish activity, with slight aspects of its own, as can be seen in the art of the provinces of the peninsula. Thus, it reflects Italian and Flemish influences, which were, at the time, those that had most weight in Spanish painting and sculpture workshops. ... This art was at the time, and would continue to be until much later, that of the greatest prestige and the only type accepted by people at a high level in the Church and society. Being able to imitate famous Spanish painters like Zurbarán, Murillo or Morales “El Divino” or great sculptors, like Martínez, Montañez, or Alonso Cano: reflecting in some way the classic sweetness of the great Italian Renaissance artists such as Raphael Sanzio, Corregio and the followers of Leonardo da Vinci, trying to reach the naturalism of Titian or the most striking Flemish artists, repeating the skills and grace of the mannerists who were spread around Europe, constituted the supreme ideal for Spanish or creole sculptors and painters in Latin America. They tried to forcibly assimilate and mix the language and technical solutions of the Renaissance and the baroque.” Tovar, 1987, p.86-87).Baltasar Vargas de Figueroa was a very successful artist who received a great number of commissions, for example, the twenty paintings he agreed to do for the main chapel at the Convent of the Conception in 1658, a commission that he was unable to complete. The themes of his paintings, as was habitual at the time, had a religious character, but he did receive some commissions for civil and ecclesiastical portraits. The portraits of Father Cristóbal de Torres, Francisco Fernández de Acuña, gentleman of Santiago and that of a woman, who would have been the donor, all surrounded by a Virgin Mary of the Hearts from the temple of Las Aguas in Bogotá are outstanding. One of the latest attributions to his catalogue is the Piety of Saint Claire, Provenance: Nobiliaria collection, Sanlúcar de Barrameda.
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Attributed to Baltasar Vargas de Figueroa (Santafé de Bogotá, Colombia, 1629 - 1667)."Christ the Redeemer"Oil on canvas. Relined. 178 x 103 cm. This painting is based on the engraving "Vera Effigies D. N. Iesv Christi" by Karl Stengel (1581 - 1663) made in Ausburg, 1656. (PESSCA 1219A, https://colonialart.org/artworks/1219A). Our painting is comparable to the Christ the Redeemer which is kept in the Santa Clara Monastery, in Tunja, Colombia, as we can see in the characteristic work on the clouds and the deep parallel folds in Christ’s tunic, There are also similarities, especially in the model used for the figure of Christ, in the painting attributed to Vargas de Figueroa “Apparition of Saint Dominic de Guzmán to Saint Teresa” which is kept in the Board Room of the Rectory of the University of the Andes and which probably came from the Dominican Convent of Our Lady of the Rosary in Bogotá. Moreover, our painting reflects one of Vargas de Figueroa’s important characteristics, as his weak point was painting hands. As we can see, they are rather more crudely finished, whilst the face, as was typical, is delicate and carefully done. Vargas de Figueroa was the son and grandson of artists. His grandfather was Baltasar de Figueroa, “The older” (16th – 17th century), who founded a dynasty of artists in Santafé, opened a workshop where he trained his son Gaspar (1594-1658), who later became the Master of his own son, the painter who now concerns us - Baltasar Vargas de Figueroa (1629-1667). Both were later masters of Gregorio Vásquez de Arce y Ceballos and later still Gregorio Carballo de la Parra. Santafé would become an important hub for creole artists, as alongside the Figueroa workshop, the Acero de la Cruz brothers, the painter Juan Francisco de Ochoa, the Fernández de Heredia family and the Vásquez family also opened workshops. All of these were at the service of the Church and the spread of the Christian message, prolonging Spanish themes and forms. The historian Francisco Gil Tovar wrote of this purpose: “This is a provincial Spanish activity, with slight aspects of its own, as can be seen in the art of the provinces of the peninsula. Thus, it reflects Italian and Flemish influences, which were, at the time, those that had most weight in Spanish painting and sculpture workshops. ... This art was at the time, and would continue to be until much later, that of the greatest prestige and the only type accepted by people at a high level in the Church and society. Being able to imitate famous Spanish painters like Zurbarán, Murillo or Morales “El Divino” or great sculptors, like Martínez, Montañez, or Alonso Cano: reflecting in some way the classic sweetness of the great Italian Renaissance artists such as Raphael Sanzio, Corregio and the followers of Leonardo da Vinci, trying to reach the naturalism of Titian or the most striking Flemish artists, repeating the skills and grace of the mannerists who were spread around Europe, constituted the supreme ideal for Spanish or creole sculptors and painters in Latin America. They tried to forcibly assimilate and mix the language and technical solutions of the Renaissance and the baroque.” Tovar, 1987, p.86-87).Baltasar Vargas de Figueroa was a very successful artist who received a great number of commissions, for example, the twenty paintings he agreed to do for the main chapel at the Convent of the Conception in 1658, a commission that he was unable to complete. The themes of his paintings, as was habitual at the time, had a religious character, but he did receive some commissions for civil and ecclesiastical portraits. The portraits of Father Cristóbal de Torres, Francisco Fernández de Acuña, gentleman of Santiago and that of a woman, who would have been the donor, all surrounded by a Virgin Mary of the Hearts from the temple of Las Aguas in Bogotá are outstanding. One of the latest attributions to his catalogue is the Piety of Saint Claire, Provenance: Nobiliaria collection, Sanlúcar de Barrameda.
On Emperors, Monarchs and Faith
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