Attributed to Jose de Paez (Mexico City, 1727 - circa 1790) 'Immaculate Conception' Oil on canvas. 124 x 94 cm. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, 'he created models of great sweetness, idealised beauty, oval faces, [and] was an excellent portraitist.' He developed mainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissions but in the knowledge that he had a solid market of buyers for his artworks. Amongst his preserved works, highlights include the paintings on copper 'Divine Shepherd' and 'Our Lady of Loreto' at the Museum of the Americas in Madrid; the 'Medallion of a friar with the Nativity' and 'Saint John of Nepomek' at the LACMA; the 'Our Lady of Mercy' in the Blaisten Museum; and the ten paintings from the 'Cycle of the Life of the Virgin Mary' from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, 'in recent decades there has been an effort to vindicate 18th-century painting. Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was 'a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain.' In the painting we have here, the artist followed the image that prevailed in both Spain and New Spain during the second half of the 17th century: the Immaculate Virgin Mary dressed in a white tunic and blue mantle, standing on the moon, with the sun rising behind her, illuminating the woman whom God chose from all time to be the Mother of God. She is suspended in the centre of the scene within a burst of glory. We can observe several Marian attributes, such as roses and lilies, alluding to the purity of the Virgin, reminiscent of the ornate representation of the Tota Pulchra. This beautiful woman is praying, with a calm and inspired expression, directing her gaze towards the solid ground. She is crowned with a halo of holiness, and twelve stars encircle her head, along with a group of cherubs peeking through the clouds, emphasising the celestial coronation. On this occasion, Páez chose to follow the models of Miguel Cabrera, in which the blue cloths that cover the Immaculate have greater flow and looseness, although the hand of master Páez is easily recognisable in this gentle painting. The painting can be compared to the Saint Joseph with the Child Jesus in the Blaisten Museum and to other Immaculate Conceptions in various institutions, such as the Immaculate Conception with Jesuit Saints in the Regional Museum of Zacatecas and the Immaculate Conception in the Museum of America in Madrid. Bibliographic reference: -Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021. Colonial painting. Latin american art.
Novohispanic school. 18th century. Attributed to José de Páez (Mexico City, 1727 - circa 1790). 'Saint John the Baptist in the desert' Oil on canvas. 168 x 112 cm. This painting, depicting St. John the Baptist in the Desert, is one of a series of similar paintings produced in New Spain (present-day Mexico) during the 17th and 18th centuries. The theme of St. John the Baptist, especially his figure in the desert accompanied by a lamb was recurrent in the religious iconography of the time, used to highlight the ascetic life of the saint and his role as a precursor of Christ. The composition of this picture reflects a remarkable similarity with other paintings of the same subject matter, in particular with a painting by Baltasar de Echave Ibía, recently acquired by the Hispanic Society of America. Echave Ibía, active in the first half of the 17th century, was one of the main exponents of Baroque in New Spain, known for his use of chiaroscuro and the dramatic composition of his figures. His influence was so significant that his style was replicated and reinterpreted in later generations of New Spanish painters. Both Echave Ibía's “Saint John the Baptist in the Desert” and the one we have here present a young Baptist in an attitude of alertness, looking heavenward, with a lamb at his feet. The pose and drama of the figure are characteristic of the Baroque, emphasizing both the saint's spirituality and his connection to Christ's sacrifice. Ibía's painting was influential enough to be copied or emulated by other artists, as our magnificent version demonstrates. It can be placed within the tradition of copies and adaptations, which was common in Novo-Hispanic workshops, and painted in our opinion by a later primary artist of great mastery, such as José de Páez, a painter active mainly between 1750 and 1780, who often revised and adapted established compositions for new commissions. In terms of execution, ours differs from Echave Ibia's work technically in the way the flesh tones are painted and in the use of the selected color palette. The figure of the lamb is a central symbol in the iconography of St. John the Baptist, representing Christ as the “Lamb of God”. This symbol, together with the dynamic posture of the saint, reinforces the pedagogical and devotional function of the painting, which would have been used both in churches and convents to inspire faith among the congregation. The paiting is, therefore, a testimony to the persistence and adaptation of iconographic models in Mexican colonial art, where the figure of the Baptist served for both personal devotion and religious teaching in the context of New Spain. Colonial painting. Latin american art.
Attributed to Jose de Paez (Mexico City, 1727 - circa 1790) 'Saint Joseph and Child' Nun's shield. Oil on copper. 11,1 x 8,2 cm. Small devotional painting on copper featuring the image of Saint Joseph and the Child Jesus, attributed to José de Páez, brimming with tenderness, fine brushwork, and intricate details for meditation and personal devotion, appealing to any collector of this type of religious artwork. This format, characteristic of private and female devotions, highlights the delicate miniature work, linked to the Baroque tradition in viceregal Mexico. The context in which these miniatures were created is deeply linked to 18th-century viceregal religiosity, in a period when religious orders, especially women's orders, played a crucial role in devotional life. Nun's medallions were objects of great symbolic value. They were a genre of devotional art that was very widespread during the 17th and 18th centuries in Spain and in the Novo-Hispanic world. They were small painted or embroidered pictures with religious scenes, which the nuns wore on their chests when taking their vows. In classic portraits of crowned nuns, in addition to flowers, candles and other ornaments, the relevance of these coats of arms can be seen. As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields: 'This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day.' This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world. They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows. It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance, these badges had. On occasions, artists of the calibre of Luís Juárez, Miguel Cabrera or José de Páez, who as we think is the author of our work, made some of these badges. Saint Joseph is depicted in a serene and protective attitude, wearing a tunic and mantle in ochre, brown, and toasted tones, with only the sleeves in green, as he holds and displays the Child on his lap, the 'Great Hope.' He is seated on an upholstered kneeling bench, gazing at His Son with kindness, while He, in turn, looks back enraptured. The Father holds in his hand the white lily, a traditional symbol of his purity and his role as husband of the Virgin Mary. Nearby, a small side table holds a modest still life of fruits. The background is golden/ochre, symbolizing and encapsulating the divinity of the moment. The flesh tones on their cheeks and an the small body are outstanding, as is the movement of the drapery, the profusion of subtle shades in this tiny portrait, and the great delicacy of the brushstrokes. The soft lighting concentrates its focus on the faces of the figures, emphasising their humanity and divinity with delicate modelling. José de Páez was a painter who was active mainly between 1750 and 1780. He was renowned for his mastery of religious painting and here he shows his ability to work on a small scale without losing precision in the faces or gestures, which is evidence of his technical skill. Amongst his preserved works, we highlight the 'Medallion of a friar with the Nativity' from LACMA; the nuns shield 'Inmaculate Concepcion' from the Museo Soumaya; and the ten paintings from the 'Cycle of the Life of the Virgin' from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, 'in recent decades there has been an effort to vindicate 18th-century painting.' Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was 'a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain.' Returning to our work, the choice of Saint Joseph as the central theme explains his growing popularity in the 18th century, when he was promoted as a model of family and spiritual virtues. Iconographically, he is, in fact, the most portrayed saint in the history of art. However, in this case, the medallion not only functions as a representation of Saint Joseph, but also encapsulates the Baroque tradition of creating portable works that connected people to spirituality on an intimate level: a clear example of art as a means of spiritual connection. Bibliographic reference: - Katzew, Ilona. (n.d.). “Nun’s Badge with the Annunciation and Saints”. LACMA. https://collections.lacma.org/node/2115912 -Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021. Colonial painting. Latin american art.
JOSE DE PAEZ (MEXICO, 1720-1790) "St. Anthony of Padua", Franciscan Monk from Portugal, depicted with a book on a table, holding the Infant Child Jesus and lillies, he is commonly referred to today as the "finder of lost articles." Artist and subject identified verso, oil on canvas processional banner, retaining batten and bottom loops, housed in a walnut framed deep shadowbox, floated over a brown burlap ground under glass. OS: 39" x 32", SS: 31 1/2" x 24", excluding the loops.
Jose de Paez (Mexico City, 1727 - circa 1790) "Saint John of Nepomuk" Oil on copper. Signed: "Joseph de Paez Fecit". With an imposing, 17th century frame. 27 x 21 cm. Frame measurements: 88 x 58,5 cm. Saint John of Nepomuk was a bohemian priest, Vicar General of the Diocese of Prague. Martyred in the year 1393 for the secrecy of confession - he was thrown into the river from the Charles Bridge, in that city, by King Wenceslas IV who was trying to seize the assets of the Church. His tongue was cut out, for not revealing the queen's sins to the King, who wanted to hear them, and so killed him for his silence. Patron saint of confessors, who must keep the sacramental seal. The scene presents Saint John of Nepomuk with a crucifix, the martyr's palm and with five stars in his halo, as legend tells that they were seen around his head when his body was rescued from the river. To his right we see a small angel making the sign of "silence" and on the lower cartouche the legend " Pro sigillo Confessionis”, referring to the secrecy of confession. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealised beauty, oval faces, [and] was an excellent portraitist." He developed mainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissions but in the knowledge that he had a solid market of buyers for his artworks. Amongst his preserved works, we highlight the paintings on copper "Divine Shepherd" and "Our Lady of Loreto" from the Museo de América in Madrid; the "Medallion of a friar with the Nativity" and "Saint John of Nepomuk" from LACMA; the "Virgen de la Merced" from the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain." Colonial Spanish Americas.
Jose de Paez (Mexico City, 1727 - circa 1790) "Immaculate Conception" Oil on canvas. 124 x 94 cm. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealised beauty, oval faces, [and] was an excellent portraitist." He developed mainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissions but in the knowledge that he had a solid market of buyers for his artworks. Amongst his preserved works, highlights include the paintings on copper "Divine Shepherd" and "Our Lady of Loreto" at the Museum of the Americas in Madrid; the "Medallion of a friar with the Nativity" and "Saint John of Nepomek" at the LACMA; the "Our Lady of Mercy" in the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin Mary" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain." In the painting we have here, the artist followed the image that prevailed in both Spain and New Spain during the second half of the 17th century: the Immaculate Virgin Mary dressed in a white tunic and blue mantle, standing on the moon, with the sun rising behind her, illuminating the woman whom God chose from all time to be the Mother of God. She is suspended in the centre of the scene within a burst of glory. We can observe several Marian attributes, such as roses and lilies, alluding to the purity of the Virgin, reminiscent of the ornate representation of the Tota Pulchra. This beautiful woman is praying, with a calm and inspired expression, directing her gaze towards the solid ground. She is crowned with a halo of holiness, and twelve stars encircle her head, along with a group of cherubs peeking through the clouds, emphasising the celestial coronation. On this occasion, Páez chose to follow the models of Miguel Cabrera, in which the blue cloths that cover the Immaculate have greater flow and looseness, although the hand of master Páez is easily recognisable in this gentle painting. The painting can be compared to the Saint Joseph with the Child Jesus in the Blaisten Museum and to other Immaculate Conceptions in various institutions, such as the Immaculate Conception with Jesuit Saints in the Regional Museum of Zacatecas and the Immaculate Conception in the Museum of America in Madrid. Colonial Spanish Americas.
JOSÉ PÁEZ (Mexico, 1720 - 1790) and SCHOOL. "Screen with religious scenes". Twelve oil paintings on canvas mounted on a wooden screen. Two of the scenes are signed. Sizes: 156 x 49 cm (each canvas); 206 x 57 cm (each sheet); 206 x 228 cm (total). Four-leaf screen with a wooden structure, with carved profiles, on which a total of twelve paintings on canvas have been mounted, three on each leaf. All of them are of religious themes, albeit with very different compositions. We see images of saints alone with their attributes or with angels, static, and also depictions of the Virgin and complex narrative scenes from the Old and New Testaments, such as the story of Samson and Delilah. The canvases depict The Virgin and God the Father, The Immaculate Conception, Saint Peter, Saint Magdalene of Pazzi, Saint Peter of Alcantara, Saint Enes, the Holy Family, Saint Innocence, The Trinity, Our Lady of Mount Carmel, Saint John Nepomuk and Doctors of the Church, Saint Christopher, and Samson and Delilah. José de Paéz was a very prolific painter, belonging to the generation after Miguel Cabrera. He produced excellent portraits and caste paintings, as well as religious compositions of various sizes, from nuns' coats of arms to huge canvases covering entire walls. Although his works are distributed in churches in Mexico and Peru, he is known to have exported much of his output. He trained with the painter Nicolás Enríquez, and worked throughout his life in his studio in Mexico City. It is not known whether Paez travelled abroad, although the fame of his work is known, given the works by him that exist in various American countries. He mainly worked on commissions for various orders of the viceroyalty of New Spain, the richest of the crown at the time. He is represented in the Andrés Blastein Collection, the Museo de la Historia Mexicana, the Museo de América in Madrid, the Soumaya in Mexico, the Museo de la Casa de Colón in Las Palmas de Gran Canaria and the National Museum of Catholic Art and History in New York, among others. The second half of the 18th century in New Spain was marked by an economic boom, which meant that aristocrats and religious orders had sufficient resources to construct new buildings or to renovate existing ones. Thus, the demand for religious art increased, as did the demand for portraiture and caste painting. It was during this period of abundant demand that José Páez, one of the most outstanding exponents of the 18th-century New Spain school, developed his work. His style is classicist, with a predominance of drawing, a marked and expressive line that gives the figures a sculptural corporeality. However, he does not neglect colouring, which is softly toned and carefully studied, restrained and balanced, as can be seen in this group of canvases. Also noteworthy is the skilful use of lighting, which subtly models the figures, giving them volume and presence in space, without the need to resort to complex perspectival constructions.
Attributed to Jose de Paez (Mexico City, 1727 - circa 1790) 'The bleeding woman touches Jesus' cloak and is cured' or 'The greatness of faith' Oil on copper. 30 x 42 cm. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, 'he created models of great sweetness, idealised beauty, oval faces, [and] was an excellent portraitist.' He developed mainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissions but in the knowledge that he had a solid market of buyers of his artworks. Amongst his preserved works, we highlight the paintings on copper 'Divina Pastora' and 'Virgen de Loreto' from the Museum of the Americas; the 'Medallion of a friar with the Nativity' and 'San Juan de Nepomuceno' from LACMA; the 'Virgen de la Merced' from the Blaisten Museum; and the ten paintings from the 'Cycle of the Life of the Virgin' from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, 'in recent decades there has been an effort to vindicate 18th-century painting.' Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was 'a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain.' This beautiful painting narrates the biblical scene of the woman with the issue of blood, who touched the fringe of Jesus' cloak, as mentioned in Matthew 9:21 and Luke 8:44, fulfilling the prophecy in Malachi 3:20, as through her gesture, a miracle occurred. The narrative recounts that while Jesus was walking amid a crowded crowd, a woman suffering from a 12-year-long hemorrhage approached from behind and touched the fringe of his cloak, believing that by just touching it, she would be healed. The scene expresses 'our faith as the weakness of God,' that 'with our living faith, we turn God's hands towards us,' granting us everything that is good and better for our salvation. Touching the fringe of Jesus' tallit is a metaphor for touching the holy law of God, as a tallit or prayer shawl has 613 fringes representing the exact number of laws contained in the Torah. The Church Fathers allegorically interpret this image, mentioning it as a meeting of the Old Testament with the New. We can appreciate the contrast between the chromatic softness of the background landscape and the intense colors of the crowd accompanying Jesus, the expressiveness of each face individually, and the remarkable handling and perfection of the drawing. This work is part of a series of religious paintings for which there was high demand in New Spain and other Latin American countries, fostering the collective work of the most recognized artists' workshops of the time such as that of José de Páez, Miguel Cabrera, Diego de Cuentas, and José de Alcíbar. The painting becomes a catechetical lesson: faith, even expressed timidly, overcomes obstacles and achieves the impossible. Reference bibliography: -Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021. Spanish Americas.
DESCRIPTION: Religious oil on canvas painting by Jose de Paez (Mexican, 1720-1790) depicting Jesus Christ holding a child and lilies. Signed at lower right. CIRCA: 18th Century ORIGIN: Mexico DIMENSIONS: (Sight) H: 16.5" W: 12.75" (Frame) H: 22.75" W: 19" - CONDITION: Touch-ups at child's legs and top of Christ's head. Craquelure. See lot description for details on item condition. More detailed condition requests can be obtained upon sms or email.
José de Páez (Mexico City, 1727 - c. 1790) "The Adoration of the Angels" Oil on copper. Signed. Copper measurements: 11 x 9 cm. This beautiful piece is a monk's medallion. Monks used to carry them tied to their habits using the small holes found in the four tabs that we see on the back of the copper plate. There are few examples that have been preserved due to the vow of poverty, and they are even rarer than nun's badges. Presented in a repoussé silver frame from 19th century. This lot has a valid export permit from the Ministry of Culture of Spain.
Firmado "Jph de Paez fecit". Páez fue in pintor mexicano muy prolífico perteneciente a la generación posterior a Miguel Cabrera. Realizó excelentes composiciones de tema sacro de gran formato con denso simbolismo y figuras así como retratos y sus muy cotizadas pinturas de castas. Es reconocido como uno de los mejores artistas del barroco tardío en México. Ya en su época su obra tuvo demanda entre las órdenes religiosas y la alta sociedad mexicana. Sus pinturas fueron adquiridas por muchos de los virreyes fuera de México y también en España. No es raro encontrar piezas suyas en colecciones particulares de nuestro país que llegaron a través de las intensas relaciones con nuestras colonias. En cuanto a sus representaciones de vírgenes y santos, ninguno de sus contemporáneos logro hacer tantas y tan distintas con esa frescura de personajes y de colores vivos que lo caracterizó tal y como ocurre con la obra que ocupa esta catalogación.
JOSÉ PÁEZ (Mexico, 1720 - 1790) and SCHOOL. "Screen with religious scenes". Twelve oil paintings on canvas mounted on a wooden screen. Two of the scenes are signed. Sizes: 156 x 49 cm (each canvas); 206 x 57 cm (each sheet); 206 x 228 cm (total). Four-leaf screen with a wooden structure, with carved profiles, on which a total of twelve paintings on canvas have been mounted, three on each leaf. All of them are of religious themes, albeit with very different compositions. We see images of saints alone with their attributes or with angels, static, and also depictions of the Virgin and complex narrative scenes from the Old and New Testaments, such as the story of Samson and Delilah. The canvases depict The Virgin and God the Father, The Immaculate Conception, Saint Peter, Saint Magdalene of Pazzi, Saint Peter of Alcantara, Saint Enes, the Holy Family, Saint Innocence, The Trinity, Our Lady of Mount Carmel, Saint John Nepomuk and Doctors of the Church, Saint Christopher, and Samson and Delilah. José de Paéz was a very prolific painter, belonging to the generation after Miguel Cabrera. He produced excellent portraits and caste paintings, as well as religious compositions of various sizes, from nuns' coats of arms to huge canvases covering entire walls. Although his works are distributed in churches in Mexico and Peru, he is known to have exported much of his output. He trained with the painter Nicolás Enríquez, and worked throughout his life in his studio in Mexico City. It is not known whether Paez travelled abroad, although the fame of his work is known, given the works by him that exist in various American countries. He mainly worked on commissions for various orders of the viceroyalty of New Spain, the richest of the crown at the time. He is represented in the Andrés Blastein Collection, the Museo de la Historia Mexicana, the Museo de América in Madrid, the Soumaya in Mexico, the Museo de la Casa de Colón in Las Palmas de Gran Canaria and the National Museum of Catholic Art and History in New York, among others. The second half of the 18th century in New Spain was marked by an economic boom, which meant that aristocrats and religious orders had sufficient resources to construct new buildings or to renovate existing ones. Thus, the demand for religious art increased, as did the demand for portraiture and caste painting. It was during this period of abundant demand that José Páez, one of the most outstanding exponents of the 18th-century New Spain school, developed his work. His style is classicist, with a predominance of drawing, a marked and expressive line that gives the figures a sculptural corporeality. However, he does not neglect colouring, which is softly toned and carefully studied, restrained and balanced, as can be seen in this group of canvases. Also noteworthy is the skilful use of lighting, which subtly models the figures, giving them volume and presence in space, without the need to resort to complex perspectival constructions.
José de Páez (Mexico City, 1727 - c. 1790) "Conversion of the Centurion" Oil on canvas. Signed. 64 x 84cm. The painting portrays a passage from the life of Christ in which one of His miraculous healings is depicted. In this case, the encounter with the Centurion, who on his knees, in prayer, asks for healing and accepts the profession of faith. Before him, Jesus works the miracle, surrounded by his disciples. The scene takes place in a wonderful setting of classical architecture and landscape. Colonial School.
Atribuido a José de Paéz (Ciudad de México, 1720-c.1790) Virgen con Niño y Santos Jesuitas. Óleo sobre cobre. La obra representa a las figuras principales de la Compañía de Jesús con la Virgen y el Niño. Destacan San Ignacio de Loyola y San Francisco Javier fundadores de los jesuitas. San Ignacio, se muestra en el centro y sostiene un libro con la divisa de la orden, Ad Maiorem Dei Gloria y Regule Societatis Jesu, la regla de la Compañía. San Francisco Javier a la derecha de la Virgen arrodillado, predicó en India, Japón y China y debido a su éxito en la evangelización fue conocido como el gigante de las misiones. La Virgen sedente sobre nubes tiene al Niño en su regazo una corte de ángeles les acompañan. A la izquierda venerando un crucifijo aparece San Luis de Gonzaga, a sus pies una corona, a la cual renunció en favor de su hermano dada su decisión de llevar vida monacal. Está vestido como novicio debido a sui prematura muerte. A sus pies, otro de sus atributos, el lirio de la pureza. San Estanislao de Kostka está orando de rodillas con el rostro hacia el cielo sobre él la Virgen, quien se apareció al muchacho en diversas ocasiones. A la izquierda de Ignacio de Loyola está Francisco de Borja, tercer general superior de la orden, quien envió a los primeros jesuitas a la Nueva España, sosteniendo su atributo principal, una calavera coronada, que simboliza la decisión que tomó de renunciar al mundo cuando observó el cadáver de la reina Isabel. Detrás de Francisco Javier, sostiene su crucifijo San Juan Francisco Regis, el patrón de las misiones populares que trabajó en las ciudades con las clases menos favorecidas. El reconocimiento social que gozaban los jesuitas en la Nueva España tenía una larga historia. Los primeros fueron enviados a la Nueva España en 1572 con el propósito de fundar colegios, donde los aristócratas novohispanos y miembros de todas las castas, fueron educados desde los primeros niveles hasta la universidad, la orden tuvo un papel relevante. 47 x 36,5 cm.
Attributed to JOSÉ DE PÁEZ (Mexico, 1720 - 1790). "Virgin of Guadalupe. Oil on copper. With traces of signature. Size: 27 x 22 cm; 42 x 37 cm (frame). José de Paéz was a very prolific painter, belonging to the generation after Miguel Cabrera. He produced excellent portraits and caste paintings, as well as religious compositions of various sizes, from nuns' coats of arms to huge canvases covering entire walls. Although his works are distributed in churches in Mexico and Peru, he is known to have exported much of his output. On this occasion he brings us a very popular image in Mexican art, that of the Virgin of Guadalupe. The Virgin of Guadalupe is the most important and widely worshipped image in Mexico and other Latin American countries. Since the time of the Viceroyalty, a complex iconography has developed around her cult, and a great artistic production that is characterised by the conjunction of local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. As in many Mexican images, on this occasion the Virgin of Guadalupe appears surrounded by sunbeams, an iconographic feature that comes from the Apocalyptic and Sibylline Virgins, both celestial apparitions. She wears a starry blue mantle and a tunic underneath, standing on a lunar crescent held by an angel. She joins her hands in a prayerful attitude, bowing her head, her eyes open, and highlighted by a crown on her head. This "particular type of Immaculate Conception" shows its Baroque influence in style and iconography, but already introduces some colours in its palette more related to the 18th century, although without varying the previous models to any great extent. The mandorla is displayed against a background of clouds bordered by Baroque surrounds. Juan de Páez trained with the painter Nicolás Enríquez, and worked throughout his life in his studio in Mexico City. It is not known whether Paez travelled abroad, although the fame of his work is known, given the works by him that exist in various American countries. He mainly worked on commissions for various orders of the viceroyalty of New Spain, the richest of the crown at the time. He is represented in the Andrés Blastein Collection, the Museo de la Historia Mexicana, the Museo de América in Madrid, the Soumaya in Mexico, the Museo de la Casa de Colón in Las Palmas de Gran Canaria and the National Museum of Catholic Art and History in New York, among others.The second half of the 18th century in New Spain was marked by an economic boom, which meant that aristocrats and religious orders had sufficient resources to build new buildings or to renovate existing ones. Thus, the demand for religious art increased, as did the demand for portraiture and caste painting. It was during this period of abundant demand that José Páez, one of the most outstanding exponents of the 18th-century New Spain school, developed his work. His style is classicist, with a predominance of drawing, a marked and expressive line that gives the figures a sculptural corporeality. However, he does not neglect the colouring, which is softly toned and carefully studied, restrained and balanced.
JOSÉ PÁEZ (Mexico, 1720 - 1790) and SCHOOL. "Screen with religious scenes". Twelve oil paintings on canvas mounted on a wooden screen. Two of the scenes are signed. Sizes: 156 x 49 cm (each canvas); 206 x 57 cm (each sheet); 206 x 228 cm (total). Four-leaf screen with a wooden structure, with carved profiles, on which a total of twelve paintings on canvas have been mounted, three on each leaf. All of them are of religious themes, albeit with very different compositions. We see images of saints alone with their attributes or with angels, static, and also depictions of the Virgin and complex narrative scenes from the Old and New Testaments, such as the story of Samson and Delilah. The canvases depict The Virgin and God the Father, The Immaculate Conception, Saint Peter, Saint Magdalene of Pazzi, Saint Peter of Alcantara, Saint Enes, the Holy Family, Saint Innocence, The Trinity, Our Lady of Mount Carmel, Saint John Nepomuk and Doctors of the Church, Saint Christopher, and Samson and Delilah. José de Paéz was a very prolific painter, belonging to the generation after Miguel Cabrera. He produced excellent portraits and caste paintings, as well as religious compositions of various sizes, from nuns' coats of arms to huge canvases covering entire walls. Although his works are distributed in churches in Mexico and Peru, he is known to have exported much of his output. He trained with the painter Nicolás Enríquez, and worked throughout his life in his studio in Mexico City. It is not known whether Paez travelled abroad, although the fame of his work is known, given the works by him that exist in various American countries. He mainly worked on commissions for various orders of the viceroyalty of New Spain, the richest of the crown at the time. He is represented in the Andrés Blastein Collection, the Museo de la Historia Mexicana, the Museo de América in Madrid, the Soumaya in Mexico, the Museo de la Casa de Colón in Las Palmas de Gran Canaria and the National Museum of Catholic Art and History in New York, among others. The second half of the 18th century in New Spain was marked by an economic boom, which meant that aristocrats and religious orders had sufficient resources to construct new buildings or to renovate existing ones. Thus, the demand for religious art increased, as did the demand for portraiture and caste painting. It was during this period of abundant demand that José Páez, one of the most outstanding exponents of the 18th-century New Spain school, developed his work. His style is classicist, with a predominance of drawing, a marked and expressive line that gives the figures a sculptural corporeality. However, he does not neglect colouring, which is softly toned and carefully studied, restrained and balanced, as can be seen in this group of canvases. Also noteworthy is the skilful use of lighting, which subtly models the figures, giving them volume and presence in space, without the need to resort to complex perspectival constructions.
Attributed to José de Páez (Mexico City, 1720 - c. 1790). "Madonna and Child with Jesuit Saints". Oil on copper. 47 x 36 cm. Frame measurements: 53 x 42 cm. The Jesuit Saints that are represented are, from left to right, San Francis Borja, with the skull, and Saint Ignatius of Loyola with his chasuble; and at his feet, kneeling, Saint Aloysius Gonzaga. On the right, below the Virgin Mary, we find Saint Paul Miki with his fellow martyrs from Japan; and on the right edge, Saint John Francis Regis with the Cross in his hand. Finally, we see the missionary Saint Francis Xavier kneeling at the lower right edge of the copper. Colonial.
Attributed to José de Páez (Mexico City, 1727 - c. 1790) Large reliquary with a pendant formed by two paintings on copper depicting the Madonna and Child and the Calvary. Closed measurements: 13,5 x 10 cm. Open measurements: 13,5 x 20 cm. Each copper's measurements: 12 x 9 cm. There are slight flaws in the paint. Colonial.
Attributed to José de Páez (Mexico City, 1720 - c. 1790) "Madonna and Child and the Jesuit Saints" Oil on copper. 46,8 x 34,5 cm. The Jesuit Saints we find in the painting are, from left to right, Saint Francis Borgia, with the skull and Saint Ignatius of Loyola with his chasuble. At their feet, we see Saint Aloysius Gonzaga. On the right, under the Virgin, we find Saint Paul Miki with other Martyrs of Japan; and at the very right of the copper, Saint John Francis Regis is holding the Cross. Finally, we see the missionary Saint Francis Xavier on his knees, on the lower right edge of the scene. Colonial.
Colonial school, Mexico, 18th century. Circle of José de Páez (Mexico, 1720-1790). Appearance of the Virgen del Pilar to Santiago el Mayor. Oil on canvas. The work recounts the appearance of the Virgin in mortal flesh to Santiago and places the event on the banks of the Ebro river. The Virgin carried by angels on a marble pillar, comforts in faith both Santiago and the first Christians he had converted, with the intention that the apostle build a church in that place and place the column next to the altar. Within Marian iconography, this is one of the most represented themes. Reengineered. 48 x 38 cm.
Adoration of the Child Jesus under God the Father and the Dove of the Holy Spirit with Saint Francis and Saint Clare of Assisi, Angels and a cartouche alluding to the Magi, oil on copper, Mexican school, 18th C., small restorations, signed and dated Mexico 1755. Notes: "Artista prolífico, José de Paez pertenece a la generación de los discípulos de Miguel de Cabrera [o mais importante pintor mexicano de meados do séc. XVIII], de quien retoma el frío sentimentalismo y los tonos claros" - vd. México en el Louvre. "Maestras de la Nueva España, siglos XVII-XVIII", exhibition catalogue held from March 7th to June 13th, 2013. Mexico: Fomento Cultural Banamex, 2013, p. 120., Dim. - 46 x 35 cm
Attributed to José de Páez (Mexico City, 1720 - c. 1790) "Saint Francis of Assisi in ecstasy" Oil on canvas. Signed with an anagram and Fé(cit) Mex. In our opinion this anagram corresponds to the interlace letters of PÁEZ and the P, Z and M are exactly those used in other signatures by José de Páez. The characteristic techniques and the excellent style of depicting the habit are compatible with the attribution to this artist. 107 x 83 cm.
Attributed to José de Páez (Mexico City, 1727 - c. 1780) Cedar wood triptych covered in tortoiseshell and ebony plaques with gilded wrought iron fittings. Colonial. On the centre panel there is a painting on copper of Joseph and the Christ Child. Copper measurements: 23,5 x 14,5 cm. Total measurements: 27,2 x 37 cm.
JOSÈ DE PAEZ (Mexico 1727 (?) - 1780) VIRGIN WITH CHILD AND TWO YOUNG PRAYERS Oil on canvas, cm. 64 x 50 Signed and dated 'J. Ph. de Paez 1770', bottom left Gilded frame JOSÈ DE PAEZ (Messico 1727 (?) - 1780) VERGINE CON BAMBINO E DUE GIOVANI ORANTI Olio su tela, cm. 64 x 50 Firmato e datato 'J. Ph. de Paez 1770', in basso a sinistra Cornice dorata
ATTRIBUTED TO JOSÉ DE PÁEZ (MEXICO, 1720-1790). THE PENITENT SAINT FRANCIS. Oil on canvas. 45 x 29 cm Pieces from the 18th century and earlier periods are protected by Mexican heritage laws. Please be aware that you are responsible for complying with any local export or import laws. Contact us for more information. Estimado $ 60,000-100,000 ATRIBUÍDO A JOSÉ DE PÁEZ (MÉXICO, 1720-1790) SAN FRANCISCO PENITENTE Óleo sobre tela. Con leyenda parcialmente legible: "Franciscus... fundat amoris ... Christo ... fugit". Detalles de conservación y restauración. 45 x 29 cm Artista seguidor de Miguel Cabrera y alumno de Nicolás Enríquez. Destacó en la producción de temas religiosos, especialmente en las advocaciones marianas. Fue uno de los artistas más prolíficos de la Nueva España. Referencia: Toussaint, Manuel. Arte Colonial en México. Instituto de Investigaciones Estéticas. UNAM. México, 1962.
JOSE DE PAEZ (MEXICO, 1720-1790). DIVINE SHEPHERDESS. Oil on canvas. Signed. 163 x 106 cm JOSÉ DE PÁEZ (MÉXICO, 1720-1790) LA DIVINA PASTORA Óleo sobre tela. Firmado: "Jph. de Paez fecit / en Mexico". Detalles de conservación y restauración. Reentelado. 163 x 106 cm Artista seguidor de Miguel Cabrera y alumno de Nicolás Enríquez. Destacó en la producción de temas religiosos, especialmente en las advocaciones marianas. Fue uno de los artistas más prolíficos de la Nueva España. Referencia: Toussaint, Manuel. Arte Colonial en México. Instituto de Investigaciones Estéticas. UNAM. México, 1962.
ASCENSION OF THE VIRGIN MARY BY JOSE DE PAEZ (CA. 1720-1790, MEXICO). Oil on copper plate, signed "Joh. de Paez fecit en Mex..." Typical composition with Mary surrounded by cherubs. Restoration. 14.5"h. 10.25"w., in a late frame, 20"h. 16"w.
JOSE DE PAEZ(Mexican 1720-1790) Angels Adoring the Sacred Heart Oil on oval canvas Signed lower right "Jph de Paez fecit" 23 inches x 17 inches (58.25 x 43 cm), unframed José de Paez was born in Mexico in 1720 and went on to a successful career as a painter of religious themes. In 1775, de Paez was commissioned to paint two works for the Monte de Piedad by the Conde de Regla. He also painted for the cloister of San Fernando and, while in Oaxaca, completed many works for the Bethlehemites. His works reside in museums throughout Mexico and the United States.
Attributed to José de Páez Mexico 1720 - 1790 Saint Joseph with the Child Oil on canvas 83,5x65 cm Atribuido a José de Páez México 1720 - 1790 San José con el Niño Óleo sobre lienzo 83,5x65 cm Zugeschrieben zu José de Páez Mexiko 1720 - 1790 Der heilige Josef mit dem Kind. Öl auf Leinwand 83,5x65 cm
