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Pablo Chilli Tupac (active in Cuzco, Peru in the first third of the 18th century).
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Beschreibung
Pablo Chilli Tupac (active in Cuzco, Peru in the first third of the 18th century).
“Saint Louis IX, King of France”.
Oil on canvas.
105 x 77,5 cm.
Full-length portrait of Louis IX, King of France, with detailed and sympathetic treatment, humanizing his face and psychology, while being richly attired as a king. He wears a crown topped with a Christian cross. In his right hand he delicately holds the traditional Main de Justice (Hand of Justice) scepter typical of the kings of France, while the left hand holds a scepter ending in a fleur-de-lis, emblem of the monarchs of France. Dressed in clothing very much of the 16th century, such as a large ermine cape, typical forthe King, he is presented in a baroque setting, with hanging historiated curtains. The king (crown) and saint (halo) imposes himself, looking directly and questioningly to the spectator.
As reported by the Royal Academy of History, Pablo Chilli Túpac was an “indigenous painter, probably a member of a family of the Inca aristocracy, who must have belonged to the guild of native artists of the city. He is the artist of a Virgin of the Rosary of Pomata, dated 1723, the only painting on this theme [...] that is signed" in the Regional Historical Museum of Cuzco.
In comparison, the painting of Saint Louis IX shares numerous stylistic traits. Both canvases exhibit the use of silver brocade draperies, as well as meticulous work in the texture and sheen of the textiles. Likewise, in both paintings there is a remarkable consistency in the treatment of the faces, with soft features and serene expressions, which reveals an intention to emphasize the spirituality of the characters.
If we broaden the comparative spectrum, this portrayal of Saint Louis IX can also be linked to similar artworks of the period, such as certain devotional portraits of kings and saintly monarchs preserved in the Museum of Religious Art of Cuzco. In particular, the frontal composition, the regal iconography and the use of richly ornamented textiles are found in other 18th century Cuzco paintings dedicated to figures such as St. Edward the Confessor or St. Henry II, suggesting a shared repertoire of visual models used in the workshop of Chili Tupac Pablo and his contemporaries.
The authorship of Chíli Tupac Pablo, beyond these stylistic comparisons, is reinforced, in our opinion, by his well-known interest in representing devotional figures with royal attributes, as well as by his mastery in the execution of metallic and brocade glitter, one of the most recognizable hallmarks of his paintings.
Regarding the character portrayed, Louis IX of France, also known as Ludovic Nono, Saint Louis the King or Saint Louis of France (Poissy, 1214 - Tunis, 1270), was king of France from 1226 until his death in 1270. He was canonized and named a saint of the Catholic Church by Pope Boniface VIII in 1297. His feast is celebrated on August 25, the date of his death. He introduced important novelties into the French royal justice system, setting himself up as supreme judge, so that any person could appeal to obtain a sentence from the king. He prohibited ordeals, eliminated private wars and introduced the presumption of innocence. His reign enjoyed great prestige throughout Christendom and throughout the Middle Ages, and is remembered in France as a golden age of great political and economic prosperity. He was an extremely devout Catholic, full of charity towards beggars and compassion towards criminals. He punished blasphemy, forbade usury and is the only canonized king of France many streets, squares and places have been named after.
Reference Bibliography:
- Benavente Velarde, T. (1995). “Pintores cusqueños de la colonia”. Municipalidad del Cuzco.
- Gisbert, T. (2002). “La identidad étnica de los artistas del Virreinato del Perú”, en El Barroco Peruano, t. I. Banco de Crédito del Perú.
- Mesa, J. y Gisbert, T. (1982). “Historia de la pintura cuzqueña”, t. II. Fundación Augusto N. Wiese.
- Mujica Pinilla, R. (1996). “Angeles apócrifos en la América virreinal”. Fondo Editorial del Congreso del Perú.
- Wuffarden, Luis Eduardo. (n.d.). "Pablo Chilli Túpac". https://historia-hispanica.rah.es/biografias/10959-pablo-chilli-tupac
Auktionsdetails
Versand
AGB & Wichtige Informationen
Pablo Chilli Tupac (active in Cuzco, Peru in the first third of the 18th century).
“Saint Louis IX, King of France”.
Oil on canvas.
105 x 77,5 cm.
Full-length portrait of Louis IX, King of France, with detailed and sympathetic treatment, humanizing his face and psychology, while being richly attired as a king. He wears a crown topped with a Christian cross. In his right hand he delicately holds the traditional Main de Justice (Hand of Justice) scepter typical of the kings of France, while the left hand holds a scepter ending in a fleur-de-lis, emblem of the monarchs of France. Dressed in clothing very much of the 16th century, such as a large ermine cape, typical forthe King, he is presented in a baroque setting, with hanging historiated curtains. The king (crown) and saint (halo) imposes himself, looking directly and questioningly to the spectator.
As reported by the Royal Academy of History, Pablo Chilli Túpac was an “indigenous painter, probably a member of a family of the Inca aristocracy, who must have belonged to the guild of native artists of the city. He is the artist of a Virgin of the Rosary of Pomata, dated 1723, the only painting on this theme [...] that is signed" in the Regional Historical Museum of Cuzco.
In comparison, the painting of Saint Louis IX shares numerous stylistic traits. Both canvases exhibit the use of silver brocade draperies, as well as meticulous work in the texture and sheen of the textiles. Likewise, in both paintings there is a remarkable consistency in the treatment of the faces, with soft features and serene expressions, which reveals an intention to emphasize the spirituality of the characters.
If we broaden the comparative spectrum, this portrayal of Saint Louis IX can also be linked to similar artworks of the period, such as certain devotional portraits of kings and saintly monarchs preserved in the Museum of Religious Art of Cuzco. In particular, the frontal composition, the regal iconography and the use of richly ornamented textiles are found in other 18th century Cuzco paintings dedicated to figures such as St. Edward the Confessor or St. Henry II, suggesting a shared repertoire of visual models used in the workshop of Chili Tupac Pablo and his contemporaries.
The authorship of Chíli Tupac Pablo, beyond these stylistic comparisons, is reinforced, in our opinion, by his well-known interest in representing devotional figures with royal attributes, as well as by his mastery in the execution of metallic and brocade glitter, one of the most recognizable hallmarks of his paintings.
Regarding the character portrayed, Louis IX of France, also known as Ludovic Nono, Saint Louis the King or Saint Louis of France (Poissy, 1214 - Tunis, 1270), was king of France from 1226 until his death in 1270. He was canonized and named a saint of the Catholic Church by Pope Boniface VIII in 1297. His feast is celebrated on August 25, the date of his death. He introduced important novelties into the French royal justice system, setting himself up as supreme judge, so that any person could appeal to obtain a sentence from the king. He prohibited ordeals, eliminated private wars and introduced the presumption of innocence. His reign enjoyed great prestige throughout Christendom and throughout the Middle Ages, and is remembered in France as a golden age of great political and economic prosperity. He was an extremely devout Catholic, full of charity towards beggars and compassion towards criminals. He punished blasphemy, forbade usury and is the only canonized king of France many streets, squares and places have been named after.
Reference Bibliography:
- Benavente Velarde, T. (1995). “Pintores cusqueños de la colonia”. Municipalidad del Cuzco.
- Gisbert, T. (2002). “La identidad étnica de los artistas del Virreinato del Perú”, en El Barroco Peruano, t. I. Banco de Crédito del Perú.
- Mesa, J. y Gisbert, T. (1982). “Historia de la pintura cuzqueña”, t. II. Fundación Augusto N. Wiese.
- Mujica Pinilla, R. (1996). “Angeles apócrifos en la América virreinal”. Fondo Editorial del Congreso del Perú.
- Wuffarden, Luis Eduardo. (n.d.). "Pablo Chilli Túpac". https://historia-hispanica.rah.es/biografias/10959-pablo-chilli-tupac
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
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Barcelona
08006
Spain
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