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Basilio Santa Cruz Pumacallao Circle (Cuzco, Peru, 1635 - 1710)
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Beschreibung
Basilio Santa Cruz Pumacallao Circle (Cuzco, Peru, 1635 - 1710)
"Saint Rose of Lima"
Oil on canvas.
123,5 x 96 cm.
Expressive portrait of the Peruvian saint, transported and inspired in a mystical moment while writing her work. Saint Rose of Lima, named Isabel Flores de Oliva, was born in 1586 and took the tertiary habit of Saint Dominic with the name of Rose of Saint Mary. Beatified in 1668 and canonized three years later, she became the first Latin American saint.
Stylistically, the painting points to the circle of Basilio de Santa Cruz Pumacallao, one of the main exponents of the Cuzco school in the 17th century. Santa Cruz was characterized by the use of a rich palette, expressive faces and compositions with a strong sense of theatricality. The painting we have here shares these traits, in particular the delicate modeling of the face, the detail on the textiles and the treatment of the celestial elements.
Basilio de Santa Cruz Pumacallao, along with Diego Quispe Tito, dominated the artistic panorama of the Cuzco school during the last quarter of the 17th century. His most relevant patron was Bishop Manuel de Mollinedo y Angulo (1673-1699), a Spanish cleric who arrived in Cuzco in 1673. Together with José López de los Ríos and Leonardo Torres, he created the iconographies of the Angels and the arquebusier Archangels, which are very characteristic of the Cuzco school.
As indicated by the Royal Academy of History, Pumacallao's career "began around 1661, when the Franciscans of Cuzco commissioned him to paint twelve angels and an equal number of Madonnas for their church, paintings that are now lost."
In his work one can perceive strong influences of Spanish painting, as he manages to exquisitely fuse Spanish baroque with his indigenous origins, resulting in an innovative and unique mestizo style.
Returning to the painting we have here, the composition presents a pyramidal arrangement, with Santa Rosa at the base and Christ at the top, reinforcing the connection between the earthly and heavenly worlds. Likewise, its iconography consolidates Saint Rose's identity as a mystic and writer: the book and pen, which represent her intellectual facet and her epistolary writings; Christ offering the crown, which alludes to her spiritual martyrdom and her total surrender to God; the angels, who contribute to the dynamism of the scene and emphasize her relationship with the divine and her life of sanctity; and the flowers, which evoke her connection with nature and her symbolism as a mystical rose. The light, which interacts gracefully with the folds of the habit, also subtly affects the face of the saint, generating a contrast with the dark background and highlighting her introspective character.
Images of Saint Rose of Lima were not unusual in the Cuzco School which, having reached its zenith in the second half of the 17th century, became one of the main groups of artists to spread her image, as she became a model of feminine virtue and a symbol of Creole religiosity.
The saint was born in Lima at the end of the 16th century and died in 1617. She was a Dominican tertiary and religious mystic canonized as a saint by Pope Clement X in 1671. Among the people born in Latin America, Rose of Lima was the first to receive the canonical recognition of sainthood in the Catholic Church. She was proclaimed Patroness of Lima in 1669 and of the New World and the Philippines in 1670. She is also patroness of educational institutions, police and armed forces in Venezuela, Peru, Paraguay and of the Armed Forces of Argentina.
In conclusion, this is a beautiful painting in large format, sober but devotional, where we see one of her many visions while writing, when she perceived what Jesus asked her from heaven: “Rose, consecrate to me all your love”. It was probably made for a convent of Franciscan tertiaries for private devotion.
Bibliographic reference:
- Bailey, Gauvin A. (2005). “Art of Colonial Latin America”. Phaidon Press.
- Burke, Marcus. (1992). “Pintura y escultura en la Nueva España”. Azabache
- Mesa, José de, y Gisbert, Teresa. (1982). “Historia de la pintura cuzqueña”. UNMSM.
- Toussaint, Manuel. (1982). “Pintura colonial en México y Perú”. UNAM.
- Wuffarden, Luis Eduardo. (n.d.). "Basilio de Santa Cruz Pumacallao". Real Academia de la Historia: DB-e. https://dbe.rah.es/biografias/54763/basilio-de-santa-cruz-pumacallao
Auktionsdetails
Versand
AGB & Wichtige Informationen
Basilio Santa Cruz Pumacallao Circle (Cuzco, Peru, 1635 - 1710)
"Saint Rose of Lima"
Oil on canvas.
123,5 x 96 cm.
Expressive portrait of the Peruvian saint, transported and inspired in a mystical moment while writing her work. Saint Rose of Lima, named Isabel Flores de Oliva, was born in 1586 and took the tertiary habit of Saint Dominic with the name of Rose of Saint Mary. Beatified in 1668 and canonized three years later, she became the first Latin American saint.
Stylistically, the painting points to the circle of Basilio de Santa Cruz Pumacallao, one of the main exponents of the Cuzco school in the 17th century. Santa Cruz was characterized by the use of a rich palette, expressive faces and compositions with a strong sense of theatricality. The painting we have here shares these traits, in particular the delicate modeling of the face, the detail on the textiles and the treatment of the celestial elements.
Basilio de Santa Cruz Pumacallao, along with Diego Quispe Tito, dominated the artistic panorama of the Cuzco school during the last quarter of the 17th century. His most relevant patron was Bishop Manuel de Mollinedo y Angulo (1673-1699), a Spanish cleric who arrived in Cuzco in 1673. Together with José López de los Ríos and Leonardo Torres, he created the iconographies of the Angels and the arquebusier Archangels, which are very characteristic of the Cuzco school.
As indicated by the Royal Academy of History, Pumacallao's career "began around 1661, when the Franciscans of Cuzco commissioned him to paint twelve angels and an equal number of Madonnas for their church, paintings that are now lost."
In his work one can perceive strong influences of Spanish painting, as he manages to exquisitely fuse Spanish baroque with his indigenous origins, resulting in an innovative and unique mestizo style.
Returning to the painting we have here, the composition presents a pyramidal arrangement, with Santa Rosa at the base and Christ at the top, reinforcing the connection between the earthly and heavenly worlds. Likewise, its iconography consolidates Saint Rose's identity as a mystic and writer: the book and pen, which represent her intellectual facet and her epistolary writings; Christ offering the crown, which alludes to her spiritual martyrdom and her total surrender to God; the angels, who contribute to the dynamism of the scene and emphasize her relationship with the divine and her life of sanctity; and the flowers, which evoke her connection with nature and her symbolism as a mystical rose. The light, which interacts gracefully with the folds of the habit, also subtly affects the face of the saint, generating a contrast with the dark background and highlighting her introspective character.
Images of Saint Rose of Lima were not unusual in the Cuzco School which, having reached its zenith in the second half of the 17th century, became one of the main groups of artists to spread her image, as she became a model of feminine virtue and a symbol of Creole religiosity.
The saint was born in Lima at the end of the 16th century and died in 1617. She was a Dominican tertiary and religious mystic canonized as a saint by Pope Clement X in 1671. Among the people born in Latin America, Rose of Lima was the first to receive the canonical recognition of sainthood in the Catholic Church. She was proclaimed Patroness of Lima in 1669 and of the New World and the Philippines in 1670. She is also patroness of educational institutions, police and armed forces in Venezuela, Peru, Paraguay and of the Armed Forces of Argentina.
In conclusion, this is a beautiful painting in large format, sober but devotional, where we see one of her many visions while writing, when she perceived what Jesus asked her from heaven: “Rose, consecrate to me all your love”. It was probably made for a convent of Franciscan tertiaries for private devotion.
Bibliographic reference:
- Bailey, Gauvin A. (2005). “Art of Colonial Latin America”. Phaidon Press.
- Burke, Marcus. (1992). “Pintura y escultura en la Nueva España”. Azabache
- Mesa, José de, y Gisbert, Teresa. (1982). “Historia de la pintura cuzqueña”. UNMSM.
- Toussaint, Manuel. (1982). “Pintura colonial en México y Perú”. UNAM.
- Wuffarden, Luis Eduardo. (n.d.). "Basilio de Santa Cruz Pumacallao". Real Academia de la Historia: DB-e. https://dbe.rah.es/biografias/54763/basilio-de-santa-cruz-pumacallao
Latin America, cultures in alchemy
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