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Attributed to Luis de Texeda (or Detegeda) (New Spain, Mexico 17th century).
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Beschreibung
Attributed to Luis de Texeda (or Detegeda) (New Spain, Mexico 17th century). “Our Lady of Guadalupe”.
Oil on canvas.
178 x 107,5 cm.
Luis de Texeda was an indigenous painter active in New Spain during the 17th century.
According to historical references, Texeda was known as “the Indian who had the gift” to portray Our Lady of Guadalupe with great devotion and technical precision.
Among the Guadalupes signed by Texeda, there is one in the National Museum of History in Chapultepec, dated 1669 and another in the former convent in Santo Desierto de Tenancingo, Mexico, dated 1682.
The painting we present here reflects the novo-Hispanic baroque style, characterized by its dramatism and ornamental richness. Luis de Texeda used a painting technique consisting of thick and carefully worked layers, which allowed him to achieve a polished finish and great luminosity.
Comparing this work with other depictions of Our Lady of Guadalupe from the same period, such as those made by Juan Correa, there is a difference in the treatment of colors and facial expression. While Correa preferred lighter tones and a more translucent palette, Texeda opted for darker tones and a greater pictorial density, which endowed his paintings with a unique air of solemnity.
This distinction is key to understanding Texeda's relevance as a master of Guadalupan art, whose work not only fulfilled a devotional function, but also reaffirmed the artistic skill of indigenous painters in New Spain.
The composition presents the Virgin Mary surrounded by a radiant mandorla of golden hues, symbolizing her divinity and immaculate purity. The use of a palette rich in colors such as deep blue, pearly white and gold emphasizes her celestial character. The proportion of the figure follows the traditional canons for Our Lady of Guadalupe, with a serene, stylized face and a “snowy wheat” tone that relates to the descriptions of the original model. The arrangement of the drapery and the ornamental details in the clothing, especially the brocade, denote meticulous technique and a clear intention to imitate the supernatural qualities also attributed to the original.
During the 17th century, the Virgin of Guadalupe was consolidated as a symbol of identity in New Spain, associated both with evangelization and with the unification of indigenous and Creole communities under a shared religious imaginary.
In this context, indigenous painters such as Luis de Texeda became renowned for their ability to replicate this sacred image with a level of detail considered miraculous. The worship of Our Lady of Guadalupe spread internationally, with copies spreading to places as far away as Genoa, where its impact was even manifested in historical events such as the protection of the Doria palace with was attributed the Virgin during the French bombardment of 1684.
The painting faithfully follows the model established by the original, which is painted on a cloak, incorporating elements such as the crescent moon at her feet and the angel bearing her, representing victory over sin and the alliance between heaven and earth. The solar mandorla alludes to the woman of the Apocalypse, while the use of blue and gold connects with the regal and heavenly attributes of the Virgin. Texeda's indigenous character adds a level of cultural syncretism, in which Catholic elements merge with local artistic sensibilities, reinforcing his connection to indigenous communities.
Reference Bibliography:
- Gruzinski, Serge. La colonización de lo imaginario: sociedades indígenas y occidentalización en el México español, siglos XVI-XVIII. Fondo de Cultura Económica, 1995.
- Gutiérrez Haces, Juana. “Pintores indígenas en la ciudad de México.” Historias, no. 37, 1996, pp. 137-152.
- Peterson, Jeanette Favrot. Visualizing Guadalupe: From Black Madonna to Queen of the Americas. University of Texas Press, 2014.
- Rodríguez Moya, Inmaculada. “El arte indígena novohispano del siglo XVII visto a través de las imágenes de Charapan.” Anales del Instituto de Investigaciones Estéticas, vol. 45, no. 103, 2023, pp. 35-70.
- Brading, D.A. Mexican Phoenix: Our Lady of Guadalupe: Image and Tradition across Five Centuries. Cambridge University Press, 2001.
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AGB & Wichtige Informationen
Attributed to Luis de Texeda (or Detegeda) (New Spain, Mexico 17th century). “Our Lady of Guadalupe”.
Oil on canvas.
178 x 107,5 cm.
Luis de Texeda was an indigenous painter active in New Spain during the 17th century.
According to historical references, Texeda was known as “the Indian who had the gift” to portray Our Lady of Guadalupe with great devotion and technical precision.
Among the Guadalupes signed by Texeda, there is one in the National Museum of History in Chapultepec, dated 1669 and another in the former convent in Santo Desierto de Tenancingo, Mexico, dated 1682.
The painting we present here reflects the novo-Hispanic baroque style, characterized by its dramatism and ornamental richness. Luis de Texeda used a painting technique consisting of thick and carefully worked layers, which allowed him to achieve a polished finish and great luminosity.
Comparing this work with other depictions of Our Lady of Guadalupe from the same period, such as those made by Juan Correa, there is a difference in the treatment of colors and facial expression. While Correa preferred lighter tones and a more translucent palette, Texeda opted for darker tones and a greater pictorial density, which endowed his paintings with a unique air of solemnity.
This distinction is key to understanding Texeda's relevance as a master of Guadalupan art, whose work not only fulfilled a devotional function, but also reaffirmed the artistic skill of indigenous painters in New Spain.
The composition presents the Virgin Mary surrounded by a radiant mandorla of golden hues, symbolizing her divinity and immaculate purity. The use of a palette rich in colors such as deep blue, pearly white and gold emphasizes her celestial character. The proportion of the figure follows the traditional canons for Our Lady of Guadalupe, with a serene, stylized face and a “snowy wheat” tone that relates to the descriptions of the original model. The arrangement of the drapery and the ornamental details in the clothing, especially the brocade, denote meticulous technique and a clear intention to imitate the supernatural qualities also attributed to the original.
During the 17th century, the Virgin of Guadalupe was consolidated as a symbol of identity in New Spain, associated both with evangelization and with the unification of indigenous and Creole communities under a shared religious imaginary.
In this context, indigenous painters such as Luis de Texeda became renowned for their ability to replicate this sacred image with a level of detail considered miraculous. The worship of Our Lady of Guadalupe spread internationally, with copies spreading to places as far away as Genoa, where its impact was even manifested in historical events such as the protection of the Doria palace with was attributed the Virgin during the French bombardment of 1684.
The painting faithfully follows the model established by the original, which is painted on a cloak, incorporating elements such as the crescent moon at her feet and the angel bearing her, representing victory over sin and the alliance between heaven and earth. The solar mandorla alludes to the woman of the Apocalypse, while the use of blue and gold connects with the regal and heavenly attributes of the Virgin. Texeda's indigenous character adds a level of cultural syncretism, in which Catholic elements merge with local artistic sensibilities, reinforcing his connection to indigenous communities.
Reference Bibliography:
- Gruzinski, Serge. La colonización de lo imaginario: sociedades indígenas y occidentalización en el México español, siglos XVI-XVIII. Fondo de Cultura Económica, 1995.
- Gutiérrez Haces, Juana. “Pintores indígenas en la ciudad de México.” Historias, no. 37, 1996, pp. 137-152.
- Peterson, Jeanette Favrot. Visualizing Guadalupe: From Black Madonna to Queen of the Americas. University of Texas Press, 2014.
- Rodríguez Moya, Inmaculada. “El arte indígena novohispano del siglo XVII visto a través de las imágenes de Charapan.” Anales del Instituto de Investigaciones Estéticas, vol. 45, no. 103, 2023, pp. 35-70.
- Brading, D.A. Mexican Phoenix: Our Lady of Guadalupe: Image and Tradition across Five Centuries. Cambridge University Press, 2001.
Latin America, cultures in alchemy
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