New Spanish Baroque: Difference between revisions

Baroque art in the Viceroyalty of New Spain allowed to New Spanish artists experiment in creating expressive forms, contrasting and realistic, creating artistic expressions that were very popular among the New Spanish society.

Puebla Cathedral.

Highlights on the one hand, and polychrome carvings that besides show the technical skills of the artisans, reflect the expressiveness and color contrasts own of the New Spanish Baroque.

Two columns that were part of an altarpiece, showing the characteristic features of the arrangements of baroque in the architecture of New Spain: the Salomónico, developed from the mid 17th century and the Estípite began to spread from the early 18th century.

A model of the Cathedral of Puebla, represents the architectural magnificence of the New Spain. A choir book, accompanied by a harpsichord of 18th century, highlight the importance that had the music for the colonial society of the Baroque period in Mexico.

Painting

In the painting it have great artists, whose works are in museums like the Museum of the Viceroyalty in Tepotzotlán, El Carmen Museum in San Ángel, df., Santa Mónica Museum in Puebla, Metropolitan Cathedral in Mexico City, among other places. The artists that stand out are:

• Miguel Cabrera

St. Gertrude the Great, portrait by Miguel Cabrera.

• Juan Correa
• Cristóbal de Villalpando
• Simon Pereyns

Just to mention a few. Everyone had a style, Miguel Cabrera was asked in his study, where requests for paintings arrived to convents, churches, palaces, noble houses and more.

Miguel Cabrera

Main article: Miguel Cabrera (painter)

Cristóbal de Villalpando

Main article: Cristóbal de Villalpando

Cristóbal de Villalpando, his early works located back to the year of 1675 in the high altar of the Franciscan convent of St. Martin of Tours in Huaquechula where his paintings are 17 but that date should not be taken as the beginning of his career. Although there is no certainty, it can infer that the painter was born in Mexico City in the year 1649. Little is known about his childhood and adolescence, being the first published data on his wedding date in the year 1669 (from where it were to calculate the date of birth according to age at the time could have to marry). He married María de Mendoza with whom he had four children.

Undoubtedly, Villalpando was one of the highlights painters of Mexico City during the last years of the 17th century, the proof is the triumphant cycle of paintings that were commissioned by the council of the Cathedral of Mexico, for garnish the walls of the sacristy of the church. The canvases that were executed for the occasion: The triumph of the Catholic Church, The Triumph of St. Peter, St. Michael's victory (known as Woman of the Apocalypse) and the appearance of St. Michael on Mount Gargano. Unfortunately and perhaps because of tectonic faults in the vaults of the building, Villalpando was unable to complete the cycle of six paintings, same as completed Juan Correa.

The Assumption of the Virgin, sacristy of the Church of Santa Prisca in Taxco by Cristóbal de Villalpando.

Due to the interruption of Mexican cathedral paintings, Villalpando moved to Puebla de los Ángeles where also intervened in the Cathedral. He produced the oil known as Glorification of the Virgin in the dome of the Chapel de los reyes, located in the metropolitan church headwall. It is also worth noting the amount of his work found in the temple of the Profesa in Mexico City. He was recognized by the painters' guild as an important element, and a couple of occasions led the group. Reached old age being a renowned character and even did some errands in the last decade of his life. It is recognized stylist influence on later generations. It is considered one of the last authors of Baroque painting in New Spain, after his death and throughout the 17th century, all the New Spanish plastic would take a different path.

Juan Correa

Main article: Juan Correa

Juan Correa, New Spanish painter, was active between 1676 and 1716. His painting covers topics both religious and secular. It is considered that one of his best works is the Assumption of the Virgin of the Cathedral of Mexico City, several of his works the Guadalupean subject, arrived in Spain, also painted Guadalupean issues in Rome (1669).

Simon Pereyns

(Antwerp, about 1530 - Mexico, about 1600) Flemish painter. In 1558 he moved to Lisbon and then to Madrid, where he worked as a portrait of the court.

In 1566 went to New Spain, achieved great fame with his painting in Mexico. Many works attributed to him, for the most part lost, between the conserved include, among others, the ten tables of the altarpiece of Huejotzingo (1586), which reveals the influence of Durer. It is also his work on San Cristóbal (1585).

The charges against him were that Pereyns had stated that it was more a sin to have an affair with a married woman with a maiden, that he preferred to paint portraits and not saints and that when he confessed that he did not have all their sins. Pereyns concepts inherited from their ancestors, specifically his father, who was a Lutheran. Not incidentally, such an attitude against the New Spanish ecclesiastical institution was expressed in the mouth of a flemish.

He was imprisoned, and while in prison, painted a picture called "Our Lady of Atonement" to spare her conviction. He was released and donated the painting to the Archbishop of Mexico, who would send his successors put it on the Altar del Perdón, at the Metropolitan Cathedral.