Attributed to Juan Correa (Mexico City, 1646 - 1716) "The birth of Saint Anne" Oil on copper. 39 x 29 cm. In this wonderful painting, we find the characteristics that made Correa a Master, as described by Dr. Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles). These include his nuances, colour gradation, and vibrant palette, providing a special iridescence that contributes to creating the mystical effect emanating from his paintings. In the collections of the aforementioned museum, there is a painting representing an angel carrying a cypress, and as Professor Katzew indicates in the caption, 'Along with Cristóbal de Villalpando (c. 1649-1714), Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'" The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones." His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations." Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the Viceroyalty. Reference bibliography: - Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231 - Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Juan Correa (Mexico City, 1646 - 1716). ‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’. Oil on canvas. Signed and located in Mexico. 28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'' The National Institute of Anthropology and History of Mexico defines him as 'one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones.' His origins were reflected in his creations, 'as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion,' a fact that 'would become an unmistakable hallmark in his creations.' Highlights among his extensive work include 'The Coronation of the Virgin' at the National Museum of the Interventions, one of his masterpieces, and the 'Expulsion from Paradise' at the National Museum of the Viceroyalty Our Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531. According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was 'the lady from heaven' he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his 'ayate' (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his 'ayate', all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe. As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain. This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception. In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were 'touched to the original,' so the miraculous character was transmitted, making them bearers of her divinity. 'Enconchado' technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance: - Former Pedro Vindel collection. Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’. For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references: - Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965. - Vargas Lugo, E. 'El indio que tenia 'el don'...' in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005. - Sánchez Mariana, Manuel. (n.d.). 'Pedro Vindel Álvarez'. https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez. Spanish Americas. Oil. - Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231 - Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Oil on canvas. Reference bibliography: VARGASLUGO, E., Juan Correa. Her life and her work, Mexico, National Autonomous University of Mexico, Institute of Aesthetic Research, 2017. This painting represents the Virgin of Carmen sheltering different saints under her mantle. In the group on the left, with Saint Dominic de GuzmAn at the head, we find Saint Anthony of Padua carrying the lily, Saint Barbara with the tower in which she was imprisoned and Saint Augustine, with the miter, carrying a feather in his hand. . In the group on the right, led by Saint Francis of Assisi, appear the Dominican Saint Thomas Aquinas, Saint Ursula carrying an arrow and Saint Nicholas of Tolentino with his starry tunic. The mantle of the Virgin of Carmen is held by Saint Joseph and Saint Teresa, spiritual pillars of Carmel. Of unknown authorship, its stylistic and formal characteristics allow it to be related to the works of the New Spanish painter Juan Correa, born in Mexico City around 1645 and died in 1716; one of the most prolific painters of this period and who, consequently, had a huge workshop from which a multitude of commissions of different quality came out. His father, of African and Spanish mix, was a surgeon from Cadiz and his mother was a “free brunette” from New Spain. Mulato, regarding this union, managed to achieve great social prestige with a series of works that were reminiscent of those of Villalpando due to the ease of the brushwork and its lively colors. The works of his first stage, prior to the year 1680, are much more detailed and drawn and in them an unmistakable characteristic of his works can be observed: the painting of “broken color” or the fact of painting the incarnations of the figures with “skin”. brunette"; some features that can be seen perfectly in this work. Formally, it must be related to a small painting signed by Correa (15 x 11 cm.) that recently appeared in Madrid stores and that represents the Virgin of Carmen interceding for the souls in Purgatory with the help of Saint Joseph and Saint Teresa (AlcalA , March 12, 2020, lot 839). The physiognomic features of Mary and the saint of Avila are identical in both cases, as is the morphology of the angelic heads. The same use of gold is observed in the nimbuses, the crowns and in the details of the vestments and an identical color palette that is somewhat more “tanned” tones in this canvas. The figures of the Virgin share a peculiar rounded nimbus with a blue background on which the twelve stars of the vision of the Apocalypse are spread. Measurements: 178 x 140 cm.
Attributed to Juan Correa (Mexico City, 1646 - 1716) 'The Martyrdom of Saint Catherine' Oil on canvas. 183,5 x 125 cm. J In this wonderful painting, we find the characteristics that made Correa a Master, as described by Dr. Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles). These include his nuances, colour gradation, and vibrant palette, providing a special iridescence that contributes to creating the mystical effect emanating from his paintings. In the collections of the aforementioned museum, there is a painting representing an angel carrying a cypress, and as Professor Katzew indicates in the caption, 'Along with Cristóbal de Villalpando (c. 1649-1714), Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"uan Correa was one of the most prominent painters at the turn of the 18th century. The National Institute of Anthropology and History of Mexico defines him as 'one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones.' His origins were reflected in his creations, 'as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion,' a fact that 'would become an unmistakable hallmark in his creations.' Highlights among his extensive work include 'The Coronation of the Virgin' at the National Museum of the Interventions, one of his masterpieces, and the 'Expulsion from Paradise' at the National Museum of the Viceroyalty. Reference bibliography: - Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). 'Juan Correa'. https://mediateca.inah.gob.mx/repositorio/node/5231 - Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). 'Juan Correa, pintor novohispano afrodescendiente'. https://mediateca.inah.gob.mx/islandora_74/node/5383 Colonial. Spanish Americas.
Attributed to Juan Correa (Mexico City, 1646 - 1716) "The Apparition of the Virgin to Saint Peter Nolasco" Oil on canvas. 153 x 97 cm. The iconography of this scene is somewhat special. Usually, we find the Virgin Mary wearing the white habit of Mercy (which she does not wear here) while handing over to Saint Peter Nolasco, dressed as a knight (as in this painting), a white habit of Mercy. In this scene, unusually, it is not a habit that the Virgin is handing over, but a white belt, symbolising chastity. In this wonderful painting, we find the characteristics that made Correa a Master, as described by Dr. Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), such as his nuances, colour gradation, and vibrant palette, providing a special iridescence that contributes to creating the mystical effect emanating from his works. In the collections of the aforementioned museum, there is a painting representing an angel carrying a cypress, and as Professor Katzew indicates in the caption, 'Along with Cristóbal de Villalpando (c. 1649-1714)', Juan Correa is considered to be the most important painter of the late 17th century in Mexico. The son of a famous Spanish surgeon and a liberated black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque. The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones." His origins were reflected in his paintings, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin with a dark complexion," a fact that "would become an unmistakable hallmark in his creations." Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the Viceroyalty. Reference bibliography: - Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231 - Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 Colonial. Spanish Americas.
Attributed to Juan Correa (Mexico, 1646 - 1716) "Our Lady of Popolo" Oil on copper. 24 x 18 cm. They are rare, but some depictions of Our Lady of Popolo from New Spain exist. Three of them were painted by one of the most outstanding artists of the early 18th century. We are referring to Juan Correa. One of his paintings is kept in the New Mexico Museum of History and another in the Church of San Felipe Neri la Profesa, in Mexico DC
Juan de Correa (Mexico, 1646 - 1716) "San Juan de Dios" Oil on copper. Signed. 28 x 22 cm. Our work is the same as the San Juan de Dios that Correa made for the tabernacle door of a side altar, of the Guadalajara Cathedral in Jalisco, Mexico, where it is preserved. Both works are based on the engraving of Saint John of God, by Benoît Farjat (1646 - 1720). See: https://colonialart.org/archives/locations/mexico/estado-de-jalisco/ciudad-de-guadalajara/catedral-de-guadalajara#c2405a-2643b Bibliography: “Juan Correa: su vida y su obra repertorio pictórico”, volum IV, 2, pág. 352 by Elisa Vargas Lugo.
JUAN CORREA (MÉXICO, 1646 - 1716) EL PAPÁ NICOLÁS V ANTE EL CADAVER DE SAN FRANCISCO DE ASÍS. Óleo sobre tela. Firmado. Detalles de conservación. Dimensiones: 183 x 111 cm
JUAN CORREA (MÉXICO, 1646-1716) EL MILAGRO DE LAS ROSAS. Óleo sobe tela. Firmado. Detalles de conservación y restauración. Dimensiones: 204 x 157 cm Obra que representa al obispo Zumárraga de rodillas con ambas manos sobre el pecho en actitud de asombro frente a Juan Diego, quien abre su tilma esparciendo por el suelo las diferentes rosas de Castilla al tiempo que se descubre la imagen de la virgen de Guadalupe, cuatro testigos más complementan la escena. Juan Correa hijo de padre español y madre mulata, nació en la ciudad de México en el año de 1646. A temprana edad ingresa como aprendiz al gremio de pintores, poco después alcanzó el grado de oficial y en 1687 presentó el examen para el nivel de maestro. Es sorprendente el hecho de encontrar a un descendiente de africanos conquistar el grado de maestro de gremio, Correa consciente de la trascendencia social de este alcance firmó en varias ocasiones sus cuadros haciendo alusión a este hecho como: "mulato libre, maestro pintor". Se estima que para 1671 a la edad de veinticinco años el trabajo de Correa ya es considerado como obra de alta calidad, acumulando fama y aprecio entre la sociedad novohispana de su tiempo. Viudo y sin hijos, contrae matrimonio con Úrsula de Montoya, con quien tuvo cuatro hijos: Miguel, Francisco, Diego y Felipa. Miguel y Diego heredaron el gusto de su padre por la pintura. Miguel llegó a ser oficial y Diego obtuvo el cargo de maestro, sin embargo muere al poco tiempo. Correa formó un taller que alcanzó gran relevancia; Allí se produjeron gran cantidad de obras, tanto religiosas como civiles cumpliendo con las normas de culto indicadas en los concilios religiosos y en el de Trento. Juan Correa además de maestro fue veedor, puesto designado en 1706 por elección. Este cargo era el más importante en la jerarquía de su gremio, otorgado únicamente a los maestros más destacados en su oficio. La obra de Correa refleja así la influencia barroca que en el terreno de la plástica abarca una gran variedad de temas. En la actualidad podemos encontrar obras de su autoria en la Catedral Metropolitana de la Ciudad de México; en la Catedral de Toluca, en la Catedral de Durango, en el Museo Nacional del Virreinato, en el Museo Franz Mayer entre otros.
