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Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)

In The origins of an Antiquarian · Passion for sc...

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Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 1 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 2 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 3 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 4 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 5 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 6 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 7 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 8 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 9 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 1 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 2 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 3 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 4 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 5 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 6 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 7 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 8 aus 9
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Bild 9 aus 9
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Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)
"Our Lady of Silence" 

Oil on copper. Accompanied by an imposing cornucopia frame in carved and gilded wood.

24 x 19 cm.

Frame measurements: 70 x 54 cm

 

Angelino Medoro was an Italian painter with a wide and diverse repertoire who settled in the Viceroyalty of Peru, via Spain. His art was particularly influential in Peru, fundamentally in the painting of Cusco.

In 1587, he moved to Santafé, in the New Kingdom of Granada, after having resided in Seville since his youth. He was also active in Tunja, Cali, and from 1600 in Lima. He returned to Seville in 1629, where he died three years later.

The "Our Lady of the Antigua" that he painted in Santafé in 1587 for the Santo Domingo temple is worth mentioning, because, in Seville style, it was accompanied by the donors Diego Hernández Hervalle and Polonia de Rosa. We are talking about one of the first portraits painted in the New Granada, which gives it immense value for the history of Colombian art, as noted by the Royal Academy of History.

There is also significant value in another portrait painted in Lima in 1617, "Portrait of Isabel Torres de Oliva," who was the first saint of Latin America, Saint Rose of Lima. "It was widely distributed not only on the American continent but also in Europe, through engravings."


In addition, other important works are attributed to him such as “a ‘Descent from the Cross’, inspired by the painting with the same theme by Pedro Pablo Rubens for the Cathedral of Antwerp, and a ‘Lamentation’, which now belong to the Convent of Santo Domingo de Tunja”, as well as a “Penitent Mary Magdalene” for the church of San Francisco and the paintings for the Mancipe chapel, which he finished in 1598, a year before his moving to Cali. During his stay of approximately one year in the city, he worked for the Franciscans, making a “Saint Anthony of Padua” and a sculpture of “Our Lady of Perpetual Help”, the only sculpture known to be by him.

Once settled in Lima, where he was appointed painter of the Inquisition, he completed several paintings, such as a “Lord of the Column”, the famous 1617 portrait that we mentioned earlier and a “Santa Margarita” that is currently in Bogota, among many other artworks that are currently distributed between various churches and chapels in Lima and Bogota, and in private collections in Bogota and Cali, among other locations.

Once settled again in Seville, despite being around seventy years old, he was still given an exam as a painter by, among others, Alonso Cano. He, who was known as 'El Romano', died in 1632.

 

Reference bibliography:

- Fajardo de Rueda, Marta. (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)
"Our Lady of Silence" 

Oil on copper. Accompanied by an imposing cornucopia frame in carved and gilded wood.

24 x 19 cm.

Frame measurements: 70 x 54 cm

 

Angelino Medoro was an Italian painter with a wide and diverse repertoire who settled in the Viceroyalty of Peru, via Spain. His art was particularly influential in Peru, fundamentally in the painting of Cusco.

In 1587, he moved to Santafé, in the New Kingdom of Granada, after having resided in Seville since his youth. He was also active in Tunja, Cali, and from 1600 in Lima. He returned to Seville in 1629, where he died three years later.

The "Our Lady of the Antigua" that he painted in Santafé in 1587 for the Santo Domingo temple is worth mentioning, because, in Seville style, it was accompanied by the donors Diego Hernández Hervalle and Polonia de Rosa. We are talking about one of the first portraits painted in the New Granada, which gives it immense value for the history of Colombian art, as noted by the Royal Academy of History.

There is also significant value in another portrait painted in Lima in 1617, "Portrait of Isabel Torres de Oliva," who was the first saint of Latin America, Saint Rose of Lima. "It was widely distributed not only on the American continent but also in Europe, through engravings."


In addition, other important works are attributed to him such as “a ‘Descent from the Cross’, inspired by the painting with the same theme by Pedro Pablo Rubens for the Cathedral of Antwerp, and a ‘Lamentation’, which now belong to the Convent of Santo Domingo de Tunja”, as well as a “Penitent Mary Magdalene” for the church of San Francisco and the paintings for the Mancipe chapel, which he finished in 1598, a year before his moving to Cali. During his stay of approximately one year in the city, he worked for the Franciscans, making a “Saint Anthony of Padua” and a sculpture of “Our Lady of Perpetual Help”, the only sculpture known to be by him.

Once settled in Lima, where he was appointed painter of the Inquisition, he completed several paintings, such as a “Lord of the Column”, the famous 1617 portrait that we mentioned earlier and a “Santa Margarita” that is currently in Bogota, among many other artworks that are currently distributed between various churches and chapels in Lima and Bogota, and in private collections in Bogota and Cali, among other locations.

Once settled again in Seville, despite being around seventy years old, he was still given an exam as a painter by, among others, Alonso Cano. He, who was known as 'El Romano', died in 1632.

 

Reference bibliography:

- Fajardo de Rueda, Marta. (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

The origins of an Antiquarian · Passion for sculpture

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Stichworte: Peter Paul Rubens, Portrait Painting, Öl Gemälde, Portrait, 15th-18th Century Art