Attributed to Luis Juárez, 17th century

17th-century Spanish school. Attributed to LUIS JUÁREZ (ca. 1585–1639).
“Vision of the Virgin of Expectation by Saint Simon de Rojas.”
Oil on copper mounted on wood.
Shows signs of repainting and restoration. The frame is damaged.
Measurements: 42 × 35 cm; 53 × 45.5 × 3 cm (frame).

The iconographic uniqueness of this panel lies in the association of Saint Simon de Rojas with the Virgin of Expectation, a devotion closely linked to the Marian spirituality promoted by the Trinitarian friar. The saint is depicted kneeling in the order’s characteristic habit, while an angel directs his gaze toward Mary, who is depicted with the Child visible above her womb as an image of the mystery of the Incarnation. An inscription reproduces the salutation “Ave Maria” and the words “benedictus fructus ventris tui,” reinforcing the doctrinal meaning of the scene.

The composition reflects the devotional language of the late Baroque: the earthly architectural setting opens onto a supernatural apparition enveloped in golden radiance and cherub heads. The intense red of the drapery, the blue of Mary’s mantle, and the warm tones of the angels’ robes structure the narrative through chromatic hallmarks, while the meticulousness of the painting allows for a precise depiction of the faces, fabrics, and the plumage of the wings.

Simón de Rojas was one of the leading promoters of Marian devotion in 17th-century Spain, eventually becoming known as the “Apostle of the Hail Mary.” He founded the Congregation of the Slaves of the Most Sweet Name of Mary and developed a particular devotion to Our Lady of Expectation, a circumstance that explains the specific iconographic formulation of this work.

The attribution to Luis Juárez can be understood based on the painting’s close relationship to the style of the New Spain school of the early decades of the 17th century, of which the artist was one of the key figures. Although trained in the Mannerist tradition, Juárez developed a style of religious painting with a marked devotional intent, characterized by figures with eloquent gestures, softened features, rich chromatic hallmarks, and a clear distinction between the earthly and heavenly realms. The attribution is further significant due to the iconography itself, linked to the transatlantic dissemination of Spanish devotional models: Saint Simon de Rojas, known as the “Apostle of the Hail Mary,” vigorously promoted Marian worship and devotion to the Virgin of Expectation. The work can thus be situated within the context of the circulation of images, prints, and iconographic formulas between Spain and New Spain during the 17th century—a period in which Luis Juárez played a decisive role in the consolidation of his own pictorial language.