This work, which represents the family of the Virgin Mary, features detailed, harmonious and expressive craftsmanship, common in paintings on copper laminate, although in this case of quite considerable dimensions. With tiny and soft brushstrokes and mostly cool colors, the painter represented a family scene of the Virgin, but gives a clear moral and devout character to the piece. Mary appears in the center of the picture with her baby son sitting on her lap on the top steps of a space with two levels and devoid of decoration, except for a checkerboard floor. To the right and standing at the bottom is St. Joaquin, dressed in the traditional manner with a red and blue ermine cape. The father of the Virgin looks at the viewer and signals towards his daughter and grandson, making clear what is of fundamental importance in the scene: the moment when Jesus blesses his grandmother, prostrate before him on the same level as her husband, while St. Joseph watches his son with his hand resting on his heart as a sign of exaltation. It is thus a didactic image in which the baby Jesus, despite his young age, is demonstrating absolute clarity about his person and function, and consequently his family recognizes and reveres him.
The few personages and attributes depicted, and the almost total lack of ornaments in the scene, focus our attention on the gestures, position and expression of each of those present at that moment. It would be intimate if viewers did not encounter the gaze of Joaquin, and follow his gesture to see what is happening there.
The work, from an excellent but anonymous brush, approaches the compositions and artistic style of some of the most important artists of the second half of the 18th century in the vice-royal capital. It reminds one of a large painting, which thus has a much greater compositional complexity, signed by Francisco Antonio Vallejo in the sacristy of the chapel of the College of San Ildefonso in Mexico, which belonged to the Jesuits. There Vallejo painted a similar grouping, but accompanied by angels and a burst of glory by God the Father looking on. However, some details also draw it close to Juan Patricio Ruiz Morlete. Either way, the Amparo Museum copper is an excellent example of these precious works by the cultured brushes of 18th century New Spain.
This work, which represents the family of the Virgin Mary, features detailed, harmonious and expressive craftsmanship, common in paintings on copper laminate, although in this case of quite considerable dimensions. With tiny and soft brushstrokes and mostly cool colors, the painter represented a family scene of the Virgin, but gives a clear moral and devout character to the piece. Mary appears in the center of the picture with her baby son sitting on her lap on the top steps of a space with two levels and devoid of decoration, except for a checkerboard floor. To the right and standing at the bottom is St. Joaquin, dressed in the traditional manner with a red and blue ermine cape. The father of the Virgin looks at the viewer and signals towards his daughter and grandson, making clear what is of fundamental importance in the scene: the moment when Jesus blesses his grandmother, prostrate before him on the same level as her husband, while St. Joseph watches his son with his hand resting on his heart as a sign of exaltation. It is thus a didactic image in which the baby Jesus, despite his young age, is demonstrating absolute clarity about his person and function, and consequently his family recognizes and reveres him.
