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Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)
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Beschreibung
Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)
“Saint Gertrude the Great”.
Oil on canvas.
114 x 85 cm.
The painting shows us a magnificent portrayal of Saint Gertrude the Great, Benedictine Cistercian nun, patron saint of Puebla, rescuer of souls from Purgatory, lover of the Child Jesus, abbess of the Sacred Heart and intercessor for a good death.
In our opinion, this painting is by the painter Juan Tinoco, who was an outstanding exponent of the novo-Hispanic baroque. This Saint Gertrude would have been painted between 1670 and 1690.
In it we can observe the technical virtuosity and spiritual depth characteristic of this painter, active mainly in Puebla, Mexico, where he developed a consolidated career in a cultural context marked by the rise of religious art.
The cultural context of this painting is framed in the flourishing of the viceregal baroque, a period of intensification of religious art as a means of catechesis and devotional expression. Puebla, known as the “City of Angels”, was an important artistic center where Spanish, indigenous and mestizo influences converged. Tinoco's work reflects this fusion, evidenced in the exquisiteness of the details and the richness of the materials used, such as the application of gold in the halo and the inscriptions.
Stylistically, the painting combines a refined use of chiaroscuro with a sober but warm chromatic palette, dominated by blacks, reds and golds. The folds of the saint's habit are modeled with sculptural precision, while the details of the book and the table demonstrate Tinoco's skill in painting textures. This technical virtuosity, together with the emotional intensity of the scene, places Saint Gertrude the Great among the painter's most outstanding artworks.
Comparison with other paintings by Tinoco, such as the Mystical Wedding of Saint Rose of Lima from the Cathedral of Puebla and the Our Lady of Sorrows from the Museo Nacional del Virreinato, reveals similarities in the depiction of sacred figures, especially in the idealization of the faces and the use of halos of light.
In this composition, Saint Gertrude is portrayed in a moment of mystical ecstasy, a portrayal that has its roots in the rise of devotion to the Sacred Heart of Jesus, promoted in the 17th century by Jesuit spirituality. The inscription “INVENES ME IN CORDE GERTRVDIS” (“In the heart of Gertrude you shall find Me.”) reaffirms the deep connection between the saint and Christ, symbolizing the spiritual union that defines her life and legacy.
The Child Jesus, emerging from her heart, carries an orb as a symbol of her universal sovereignty, while the halo of light reinforces her divinity. The crosier, the attribute of abbess, and the open book, allude to the saint's wisdom and spiritual authority.
The saint wears four rings that symbolize her mysticism and spiritual status. Each ring symbolizes a virtue or spiritual gift, and their presence in the painting underscores Gertrude's level of consecration and holiness.
Juan Tinoco, considered one of the main representatives of the Puebla school, was a disciple of the master Sebastián de Arteaga, one of the artists who introduced tenebrism to New Spain, influenced by the style of Francisco de Zurbarán. Arteaga transmitted the dramatic use of light and shadow to Tinoco, as well as a predilection for scenes of mysticism and devotion. In turn, Tinoco exerted a notable influence on local artists, leaving a legacy that extended even outside of Puebla.
His work is characterized by a balance between Spanish sobriety and a delicate ornamentation typical of American sensibility.
Juan Tinoco's legacy extends beyond his pictorial production. His workshop was a formative space for local artists who later took the traditions of the Puebla school to other corners of the viceroyalty. In addition, his paintings, present in important ecclesiastical collections, consolidated his reputation as one of the great masters of the novo-Hispanic baroque.
Bibliographical references:
- Toussaint, Manuel. (1965). “Pintura Colonial en México”. UNAM.
- Vargas Ugarte, Rubén. (1956). “Historia del Arte en el Perú Virreinal”.
- Rodríguez Miaja, Fernando E. (2004). "Juan Tinoco: Gloria de pintura poblana". Consejo Nacional para la Cultura y las Artes.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)
“Saint Gertrude the Great”.
Oil on canvas.
114 x 85 cm.
The painting shows us a magnificent portrayal of Saint Gertrude the Great, Benedictine Cistercian nun, patron saint of Puebla, rescuer of souls from Purgatory, lover of the Child Jesus, abbess of the Sacred Heart and intercessor for a good death.
In our opinion, this painting is by the painter Juan Tinoco, who was an outstanding exponent of the novo-Hispanic baroque. This Saint Gertrude would have been painted between 1670 and 1690.
In it we can observe the technical virtuosity and spiritual depth characteristic of this painter, active mainly in Puebla, Mexico, where he developed a consolidated career in a cultural context marked by the rise of religious art.
The cultural context of this painting is framed in the flourishing of the viceregal baroque, a period of intensification of religious art as a means of catechesis and devotional expression. Puebla, known as the “City of Angels”, was an important artistic center where Spanish, indigenous and mestizo influences converged. Tinoco's work reflects this fusion, evidenced in the exquisiteness of the details and the richness of the materials used, such as the application of gold in the halo and the inscriptions.
Stylistically, the painting combines a refined use of chiaroscuro with a sober but warm chromatic palette, dominated by blacks, reds and golds. The folds of the saint's habit are modeled with sculptural precision, while the details of the book and the table demonstrate Tinoco's skill in painting textures. This technical virtuosity, together with the emotional intensity of the scene, places Saint Gertrude the Great among the painter's most outstanding artworks.
Comparison with other paintings by Tinoco, such as the Mystical Wedding of Saint Rose of Lima from the Cathedral of Puebla and the Our Lady of Sorrows from the Museo Nacional del Virreinato, reveals similarities in the depiction of sacred figures, especially in the idealization of the faces and the use of halos of light.
In this composition, Saint Gertrude is portrayed in a moment of mystical ecstasy, a portrayal that has its roots in the rise of devotion to the Sacred Heart of Jesus, promoted in the 17th century by Jesuit spirituality. The inscription “INVENES ME IN CORDE GERTRVDIS” (“In the heart of Gertrude you shall find Me.”) reaffirms the deep connection between the saint and Christ, symbolizing the spiritual union that defines her life and legacy.
The Child Jesus, emerging from her heart, carries an orb as a symbol of her universal sovereignty, while the halo of light reinforces her divinity. The crosier, the attribute of abbess, and the open book, allude to the saint's wisdom and spiritual authority.
The saint wears four rings that symbolize her mysticism and spiritual status. Each ring symbolizes a virtue or spiritual gift, and their presence in the painting underscores Gertrude's level of consecration and holiness.
Juan Tinoco, considered one of the main representatives of the Puebla school, was a disciple of the master Sebastián de Arteaga, one of the artists who introduced tenebrism to New Spain, influenced by the style of Francisco de Zurbarán. Arteaga transmitted the dramatic use of light and shadow to Tinoco, as well as a predilection for scenes of mysticism and devotion. In turn, Tinoco exerted a notable influence on local artists, leaving a legacy that extended even outside of Puebla.
His work is characterized by a balance between Spanish sobriety and a delicate ornamentation typical of American sensibility.
Juan Tinoco's legacy extends beyond his pictorial production. His workshop was a formative space for local artists who later took the traditions of the Puebla school to other corners of the viceroyalty. In addition, his paintings, present in important ecclesiastical collections, consolidated his reputation as one of the great masters of the novo-Hispanic baroque.
Bibliographical references:
- Toussaint, Manuel. (1965). “Pintura Colonial en México”. UNAM.
- Vargas Ugarte, Rubén. (1956). “Historia del Arte en el Perú Virreinal”.
- Rodríguez Miaja, Fernando E. (2004). "Juan Tinoco: Gloria de pintura poblana". Consejo Nacional para la Cultura y las Artes.
Latin America, cultures in alchemy
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Ort der Versteigerung
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Barcelona
08006
Spain
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