42
Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773)
1/7
Beschreibung
Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773)
"Presentation of Jesus at the temple"
Oil on canvas.
79 x 109,5 cm.
Marcos Zapata is known for paintings that capture the rich religious tradition of colonial Peru. Among his most outstanding artworks is the monumental canvas of The Last Supper (1753), which adorns the refectory of Cuzco Cathedral. This painting is famous for the inclusion of local elements, such as the guinea pig, which replaces the traditional lamb, a detail that reflects how Cuzco artists adapted European iconographies to their Andean context.
Another important example is the series of paintings on the life of St. Ignatius of Loyola, located in the Church of the Society of Jesus in Cuzco. In particular, the painting “Saint Ignatius overcoming the heretics” shares several characteristics with the “Presentation of Jesus at the Temple”, especially in the composition of the interiors. Both paintings have similar architectural decorations, with monumental columns, draperies and a distribution of space that reinforces the solemnity of the event depicted. The way in which Zapata arranges the characters within a delimited and structured space contributes to creating a sensation of depth and theatricality, fundamental elements of the Andean baroque.
On the other hand, the comparison with “The Death of the Virgin”, another work attributed to Zapata which can be found in Bolivia, reinforces the attribution of the present canvas. The face of the Virgin in both paintings has almost identical modeling: delicate features, a peaceful gaze and a serene expression that denotes a devotional sensitivity typical of the Cuzco baroque. The way in which the painter portrays the Virgin, with a slight leaning of the face, slanting eyes and subtly delineated lips, is a constant in the artist's work and allows us to establish a direct link between both paintings. The color palette and the rest of the characters in the two paintings also show similarities. Also in the flesh tones, the profiles and the hair, which is practically identical.
The comparative analysis with other works signed or attributed to Zapata reinforces the stylistic cohesion of his work and allows us to place this painting within the painter's corpus, which is characterized by meticulous treatment of the faces, the structuring of the architectural spaces and the incorporation of theatrical elements in his compositions.
In iconographic terms, the scene depicted is captured in a single, deep foreground and takes place inside a large, tiered room, with a tier behind the characters covered with a red tablecloth or carpet, and ennobled with a large red curtain in the background, on the left, hanging from the top, a common element in the Baroque to indicate the presence of the sacred. The use of gold, especially on the vestments and halos, is another element typical of the Cuzco baroque, where gold not only embellishes the work, but also symbolizes the divine light emanating from the sacred figures. In all these ornamental details the hand of a master, such as Zapata, can be seen.
Almost at the center of the composition is the Christ Child, whose naked body is offered to God by the elderly Simeon, who, richly attired as a Jewish priest, raises his gaze, while his arms are holding him with a white cloth, a symbol of respect. To his right are the Virgin Mary and St. Joseph. She is below the first tier, almost kneeling with her head facing forward and her arms open. St. Joseph, behind Mary, also has his arms open, holding the offering of two turtledoves or pigeons in a basket, intended as a voluntary atonement offering, representing the union of the Old and New Testament of the Bible, in Leviticus 5.11. To the left of the Jewish priest is an adolescent altar boy, holding a candle, illuminating the liturgy, with clothing in the style of Catholic ceremonial vestments of the painter's time. In the background on the right, the artist possibly tried to imagine the environment of the temple of Jerusalem, depicting part of its interior around Simeon, and part of its exterior, reminiscent of a Christian church. In the upper part is an entrance to Glory, in the center of which the clouds open to reveal the dove of the Holy Spirit enveloped in bright radiance. This halo of light directs the viewer's gaze towards the Child Jesus.
This scene, which in this case also includes the figure of the prophetess Anna contemplating the event, is narrated by the Evangelist Luke (2:22-39), the Sacred Scripture is to remind us that the Son of God, who had come to bring the New Law had first wanted to submit to the Old Law, passing the rite of so many Jews. “According to what was prescribed in the law of Moses, when the days of purification were fulfilled, they brought the Child to Jerusalem to present Him to the Lord.”
It is worth noting the fusion of two motifs that occur in this scene, the consecration to the Lord of the newborn Son and the purification of Mary in the temple, after having given birth according to the Jewish rite. If she had not done so, she would have been considered impure after giving birth to a male child.
In short, we present a painting attributed to Zapata that reflects very well ,and in a simple and devotional way, the “canticle of Simeon”, that moment in which “he proclaimed that that Child was salvation, the light of all nations and the glory of the people of Israel, and asked God to let him die, for he had already had the joy of seeing the Messiah.”
Reference Bibliography:
- Cánepa Koch, Gisela. (1998). “Máscara, transformación e identidad en los Andes: la fiesta de la Virgen del Carmen, Paucartambo–Cuzco”. Pontificia Universidad Católica del Perú.
- Cornejo Bouroncle, Jorge. (1992). “El sincretismo religioso en el arte colonial peruano”. Universidad Nacional de San Agustín.
- Gisbert, Teresa. (1999). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert.
- Mujica Pinilla, Ramón (2001). “La imagen transgredida: ensayos de iconografía peruana y sus políticas de representación simbólica”. Fondo Editorial del Congreso del Perú.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773)
"Presentation of Jesus at the temple"
Oil on canvas.
79 x 109,5 cm.
Marcos Zapata is known for paintings that capture the rich religious tradition of colonial Peru. Among his most outstanding artworks is the monumental canvas of The Last Supper (1753), which adorns the refectory of Cuzco Cathedral. This painting is famous for the inclusion of local elements, such as the guinea pig, which replaces the traditional lamb, a detail that reflects how Cuzco artists adapted European iconographies to their Andean context.
Another important example is the series of paintings on the life of St. Ignatius of Loyola, located in the Church of the Society of Jesus in Cuzco. In particular, the painting “Saint Ignatius overcoming the heretics” shares several characteristics with the “Presentation of Jesus at the Temple”, especially in the composition of the interiors. Both paintings have similar architectural decorations, with monumental columns, draperies and a distribution of space that reinforces the solemnity of the event depicted. The way in which Zapata arranges the characters within a delimited and structured space contributes to creating a sensation of depth and theatricality, fundamental elements of the Andean baroque.
On the other hand, the comparison with “The Death of the Virgin”, another work attributed to Zapata which can be found in Bolivia, reinforces the attribution of the present canvas. The face of the Virgin in both paintings has almost identical modeling: delicate features, a peaceful gaze and a serene expression that denotes a devotional sensitivity typical of the Cuzco baroque. The way in which the painter portrays the Virgin, with a slight leaning of the face, slanting eyes and subtly delineated lips, is a constant in the artist's work and allows us to establish a direct link between both paintings. The color palette and the rest of the characters in the two paintings also show similarities. Also in the flesh tones, the profiles and the hair, which is practically identical.
The comparative analysis with other works signed or attributed to Zapata reinforces the stylistic cohesion of his work and allows us to place this painting within the painter's corpus, which is characterized by meticulous treatment of the faces, the structuring of the architectural spaces and the incorporation of theatrical elements in his compositions.
In iconographic terms, the scene depicted is captured in a single, deep foreground and takes place inside a large, tiered room, with a tier behind the characters covered with a red tablecloth or carpet, and ennobled with a large red curtain in the background, on the left, hanging from the top, a common element in the Baroque to indicate the presence of the sacred. The use of gold, especially on the vestments and halos, is another element typical of the Cuzco baroque, where gold not only embellishes the work, but also symbolizes the divine light emanating from the sacred figures. In all these ornamental details the hand of a master, such as Zapata, can be seen.
Almost at the center of the composition is the Christ Child, whose naked body is offered to God by the elderly Simeon, who, richly attired as a Jewish priest, raises his gaze, while his arms are holding him with a white cloth, a symbol of respect. To his right are the Virgin Mary and St. Joseph. She is below the first tier, almost kneeling with her head facing forward and her arms open. St. Joseph, behind Mary, also has his arms open, holding the offering of two turtledoves or pigeons in a basket, intended as a voluntary atonement offering, representing the union of the Old and New Testament of the Bible, in Leviticus 5.11. To the left of the Jewish priest is an adolescent altar boy, holding a candle, illuminating the liturgy, with clothing in the style of Catholic ceremonial vestments of the painter's time. In the background on the right, the artist possibly tried to imagine the environment of the temple of Jerusalem, depicting part of its interior around Simeon, and part of its exterior, reminiscent of a Christian church. In the upper part is an entrance to Glory, in the center of which the clouds open to reveal the dove of the Holy Spirit enveloped in bright radiance. This halo of light directs the viewer's gaze towards the Child Jesus.
This scene, which in this case also includes the figure of the prophetess Anna contemplating the event, is narrated by the Evangelist Luke (2:22-39), the Sacred Scripture is to remind us that the Son of God, who had come to bring the New Law had first wanted to submit to the Old Law, passing the rite of so many Jews. “According to what was prescribed in the law of Moses, when the days of purification were fulfilled, they brought the Child to Jerusalem to present Him to the Lord.”
It is worth noting the fusion of two motifs that occur in this scene, the consecration to the Lord of the newborn Son and the purification of Mary in the temple, after having given birth according to the Jewish rite. If she had not done so, she would have been considered impure after giving birth to a male child.
In short, we present a painting attributed to Zapata that reflects very well ,and in a simple and devotional way, the “canticle of Simeon”, that moment in which “he proclaimed that that Child was salvation, the light of all nations and the glory of the people of Israel, and asked God to let him die, for he had already had the joy of seeing the Messiah.”
Reference Bibliography:
- Cánepa Koch, Gisela. (1998). “Máscara, transformación e identidad en los Andes: la fiesta de la Virgen del Carmen, Paucartambo–Cuzco”. Pontificia Universidad Católica del Perú.
- Cornejo Bouroncle, Jorge. (1992). “El sincretismo religioso en el arte colonial peruano”. Universidad Nacional de San Agustín.
- Gisbert, Teresa. (1999). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert.
- Mujica Pinilla, Ramón (2001). “La imagen transgredida: ensayos de iconografía peruana y sus políticas de representación simbólica”. Fondo Editorial del Congreso del Perú.
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
We remind our customers that, as indicated in our conditions of sale, for works over 100 years old, an export license from the Spanish Ministry of Culture is required.
This procedure is carried out by us free of charge for our clients.
The Spanish administration delivers it free of charge for EU members, but applies fees for non-EU buyers. Please contact us for further information and details.
AGB
CONDITIONS OF THE AUCTION:
I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.
II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.
III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.
IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.
V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.
VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.
VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.
IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 24,5 % plus 21% VAT on the commission, at total 29,64 % on Hammer Price.
X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.
XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.
15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.
XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.
XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.
Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
