Novohispanic School; second half of the XVIII century. "San José with the Child". Oil on canvas.

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OLD MASTERS

By Setdart Auction House

Jul 14, 2021

Set Reminder 2021-07-14 06:30:00 2021-07-14 06:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7202
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• Lot Description
  Novohispanic School; second half of the XVIII century. "San José with the Child". Oil on canvas. Presents period frame. Measures: 48.5 x 39 cm; 56 x 48 cm (frame). Inscribed in a border as an oval frame, the author presents us with a completely intimate and tender image between St. Joseph and the Child, which are placed in the center of the composition, on a dark and neutral background. St. Joseph acts as a throne for the Child, to whom he dedicates a tender caress, resting his face on the Child's head, thus alluding to his paternal-filial relationship. The Child, who is seated on his father's lap, directs his gaze towards the spectator, thus establishing a communication between the two and making him a participant in the scene. The work has no other element that distracts the viewer, except for the flowers that are the iconographic symbol of Joseph and the cross that the Child carries in one of his hands. Until the Counter-Reformation, it was common for the figure of St. Joseph to remain in the background, since he was not given any theological importance. However, after Trent, his leading role as Jesus' protector during his childhood, as a guide during his youth, was recovered, and as such he is represented here. In contrast to the tenderness, defenselessness and candor of the infant figure, St. Joseph is presented as a monumental character, typically baroque, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually enhances the decisive role as protector of the putative father of Jesus. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, in the first years of the 19th century, already in times of independence and political opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
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