École de Cuzco (XX) - Saint Antoine de Padoue et deux archanges

Quechuan School – Altar screen of Saint Anthony of Padua with the Child Jesus and two archangels – Carved, gilded and polychrome wood School: Quechuan, of Hispano-American Baroque tradition. Title: Altar screen of Saint Anthony of Padua with the Child Jesus and two archangels. Materials: Carved, gilded and polychrome wood, with three religious pictorial representations. Dimensions: 65 × 43 cm. Description of the work Interesting devotional altarpiece of Quechuan tradition, composed of an elaborated architectural wooden structure carved, gilded and polychromed, housing three religious paintings distributed in a symmetrical composition with a marked Baroque influence. The central representation is dedicated to Saint Anthony of Padua with the Child Jesus, one of the most widespread iconographies of the Franciscan tradition. The saint is depicted wearing the habit of his order, holding the Child Jesus on one arm, in a scene of intimate and spiritual character. On both sides are two archangel figures, portrayed with outstretched wings and vivid garments of military-inspired styling, following an iconographic tradition especially characteristic of religious painting developed in the Andean territories. The three compositions present a pictorial treatment of a popular and devotional nature, with stylized figures, defined outlines, serene expressions and an ornamental use of color that reinforces their religious expressiveness. Style, historical context and artistic influences The ensemble is closely linked to the artistic language of the Quechuan school, one of the most distinctive manifestations of Hispano-American painting, developed mainly in the city of Cuzco, in the old Viceroyalty of Peru. This pictorial tradition reached extraordinary development during the 17th and 18th centuries, especially during the Baroque period, when Andean workshops began to reinterpret European artistic models through a language of their own, characterized by rich ornamentation, figure stylization and the predominance of decorative elements. Among its main influences are Spanish religious painting of the Golden Age, European Baroque and the iconographic models disseminated through engravings by Flemish, Italian and Spanish artists. These references were assimilated by local workshops, giving rise to a singular aesthetics that combined European artistic conventions with the sensitivities and traditions of the Andean world. One of the most representative aspects of this school was the importance given to religious images destined for churches, convents, chapels and spaces of private devotion. Representations of Franciscan saints, Marian advocations and angelic figures occupied a prominent place in its production. Especially significant is the presence of the two archangels, whose iconography recalls the tradition of military and celestial angels that acquired extraordinary popularity in Viceroyal Andean painting. These figures, frequently depicted with elaborate garments, military elements and a marked ornamental elegance, constitute one of the most recognizable repertoires of Quechuan art. The structure of the altarpiece also responds to the decorative principles of Spanish and viceroyal Baroque, with profuse ornamentation of vegetal scrolls, volutes, floral motifs, architectural elements and pierced terminations. This type of compositions, characterized by the integration of painting, ornamental sculpture and gilding, had a significant presence in religious art of the 17th and 18th centuries. Their models continued to be reproduced and reinterpretated during subsequent centuries, especially in workshops that preserved the aesthetic traditions of the colonial period. The combination of an exuberant architectural structure with more spontaneous and popular execution paintings precisely reflects that artistic tradition, in which the devotional value of the images and their rich ornamentation played a fundamental role. The ensemble stands out for its compositional balance, the decorative intensity of the gilded carving and the uniqueness of its religious representations, offering an interesting example of the persistence of Baroque models in the Quechuan artistic tradition. Conservation status The piece shows signs of use, surface wear and occasional losses of polychromy and gilding, especially visible on certain ornamental elements of the structure. At the rear there is evidence of a handcrafted construction made from different wooden boards joined together, as well as the fixing elements corresponding to the three paintings and a metallic system for its suspension. The ensemble preserves its three-aisled altarpiece configuration, with the pictorial representations integrated in their respective architectural spaces. Observations Due to its dimensions and characteristics, it corresponds to the typology of a small devotional altarpiece, conceived for contemplation in religious spaces of reduced dimensions, private or domestic settings. It is a piece of notable artistic and decorative appeal, especially interesting for the combination of three religious representations, the ornamental richness of its structure and its stylistic linkage with the Quechuan Baroque tradition. Shipping The piece will be carefully shipped, properly packaged with protective materials appropriate to its characteristics, dimensions and ornamental delicacy. Possible costs of customs duties, tariffs and import taxes will be borne by the buyer when applicable, especially in international shipments or to territories with special tax regimes.

Estimate:£418.79

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