Estimate

4.000 - 6.000

Session 3

20 July 2023

Hammer Price

Description

Oil on canvas
Signed

65x52,5 cm

Category

Paintings

Throughout the 18th century, the production of paintings depicting religious subjects flourished rather magnificently in New Spain, revealing a lavish intersection between religious devotion and artistic production. As such, a distinctive Baroque School, characterised by a rather unique expression of Catholic Faith illustrated by vivid colours, dramatic compositions, and intricate symbolism, did eventually emerge under the influence of both Spanish religious fervour and autochthonous tradition. It is from within this artistic panorama, marked by a profusion of talents and singular aesthetic expressions, that the painter José De Páez (1720 – ca. 1790) stands out.
De Páez biographical details are scarce. Various academics argue that he might have been an assistant to Nicolás Enríquez de Vargas (1704-1790), a painter who, together with José de Ibarra (1688-1756) and other contemporary artists, assumed a crucial role in establishing a New Spain Arts Academy in the 18th century.
By the dating of some of his paintings, we can be certain that José De Páez main production years fell between 1751 and 1790. There is also evidence that his last known work was painted in 1790, the year in which, supposedly, he was based in Lima, in the Vice Kingdom of Peru, where he eventually died.
His vibrant colour palette and his ability in capturing emotion, associated to the spirituality of his subjects, are distinctive aspects of his production. The careful handling of light and shadow brings De Páes compositions to life, while simultaneously endowing them with impressive depth and atmosphere.
The work that we are presenting for sale at auction, a depiction of the Madonna of Sorrows, it is an outstanding example of José De Páez artistic quality, in his singular capacity of capturing the most subtle emotions. The painting signature, "Jph de Paez, Fecit en Mexico", reveals that the work was produced after 1770, the period in which the artist reached the peak of his reputation. Various of his works from this important period can be found in the former Viceroyalty of New Spain, as well as in Peru, Guatemala, Cuba, Colombia, Venezuela, and in Spain, a broad dispersion that evidences the mobility of De Páez production in the local market and overseas. Before this date the artist signed his works as “Joseph de Paez”.
It is also worth mentioning that, in this specific painting, the dagger that in related imagery pierces The Madonna’s Heart, symbol of her sorrows and suffering, is absent. We acknowledge that the artist’s decision not to include this element was intentional since, in an identical representation of The Madonna of Sorrows belonging to the Arnold Zingg collection, he chose instead to include it (Duarte, 1998, 91). It is fair to assume that, in this instance, De Páez was perhaps intending to enhance the Madonna’s anguished expression, by taking away the main symbol of her suffering.

Bibliography:

TOUSSAIN, Manuel. Pintura colonial en México, ed. Xavier Moyssen, México D.F.: UNAM-IIE, 1982.
TOVAR Y DE TERESA, Guillermo. Miguel Cabrera, pintor de cámara de la Reina Celestial, México D.F.: Inver México, 1995.
DUARTE, Carlos F. Catálogo de obras artísticas mexicanas en Venezuela: período hispánico. México: Universidad Nacional Autónoma de México, 1998.