Pedro Ramírez, 1668 - Le mariage de la Vierge (Desposorios del la Virgen) - tirage d'art

Spécifications détaillées du produit

Cette œuvre d'art vieille de plus de 350 ans The Marriage of the Virgin (Desposorios del la Virgen) a été réalisé par l'artiste Pedro Ramirez in 1668L’ 350 une œuvre d'art âgée de plusieurs années mesure la taille 75 5/8 × 50 3/8 pouces (192,09 × 127,95 cm) et a été fait avec la techinque de oil on canvas on wood panel. En outre, les œuvres d'art peuvent être vues dans la collection d'art numérique de Musée d'art du comté de Los Angeles. With courtesy of: Los Angeles County Museum of Art (www.lacma.org) (public domain license).Creditline of the artwork: . The alignment is in portrait format with an aspect ratio of 2: 3, ce qui implique que la longueur est 33% plus courte que la largeur.

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Informations générales sur l'article

Détails sur l'œuvre d'art originale

Information structurée sur l'artiste

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Spécifications des œuvres d'art originales du musée (© Copyright - Musée d'art du comté de Los Angeles - Musée d'art du comté de Los Angeles)

Notes from the Curator: Pedro Ramírez descended from a prominent family of sculptors and altarpiece-makers. His father, Pedro Ramírez El Viejo (d. 1679), was born in Seville and immigrated to Mexico City where he achieved great success, as attested by the wealth he amassed at time of his death. Pedro Ramírez El Mozo (1638–1679), was already born in Mexico City. Regretfully we do not know much about his early training, which possibly took place either in Mexico City or Puebla, where he married and settled for some time before returning to the viceregal capital. His work is characterized by stark contours, firm modeling and a high degree of naturalism. One of his most characteristic traits is his brilliant handling of light and shade, which impart his compositions with a sense of depth and theatricality.

The subject of the Marriage of the Virgin is based on apocryphal accounts of the event in the Golden Legend, a thirteenth-century collection of the lives of saints by Jacobus de Voragine. Though the subject was represented in Europe (e.g., Durer and Raphael), on the whole it was rare in Spanish Golden Age painting (one notable exception is Francisco Pacheco's scene of 1588 for the Iglesia de la Anunciación in Seville). Curiously, the subject seems to have gained more currency in New Spain where it was taken up by some of the best brushes of the time: José Juárez (c. 1585–1639); Luis Juárez (c. 1586–1639), and Sebastián López de Arteaga (1610–1652), the latter whom came to Mexico from Seville in 1640. In the early eighteenth century, the famous Cristóbal de Villalpando also rendered his own version.

The simple composition depicts the Jewish high priest in the center, flanked on either side by the holy couple. Joseph holds the flowering staff to symbolize that he was chosen by God to marry the Virgin. Among the most striking details are the priest's hands, with every knuckle clearly drawn, as well as the realism of his facial expression. The scene is presided over by the Holy Ghost, beautifully rendered within a circle of light, as two majestic hands descend from the heavens to embrace the couple and sanctify the union. This inclusion of God's hands is an unusual detail that recurs in the works of all the New Spanish painters mentioned above, but which is conspicuously absent from the Europeans models. It is possible that the artists shared a common visual source (either a print or a painting that is yet to be identified), but it is even more likely that they were looking at each other's work, demonstrating the significance of a local tradition of painting within Mexico itself. While several works by Ramírez have been identified throughout Mexico (including in Mexico City's cathedral), this is a remarkable example from the artist's small surviving oeuvre.

Ilona Katzew, 2010

Notes from the Contributor: Painting by Pedro Ramírez (Museum: Los Angeles County Museum of Art)