New Spanish School; 17th century

New Spain School; late 17th century.
“Altar with a monstrance depicting the Virgin of Solitude and Christ.”
Oil on canvas. Relined.
Measurements: 97 x 74 cm.
The artist conceives this work in a theatrical manner, setting the main scene against a completely dark background bordered by two red drapes. These drapes open onto an interior dominated by a tiered altar, similar in style to the altars most commonly found in Portugal. In the lower section, two little angels guard the scene, each positioned on one side. At the base of the red altar, the coat of arms of the Carmelites stands out, symbolizing the weight of Christian tradition. In the central area, the figure of the Virgin, kneeling and positioned in the center, is flanked by candles and plant motifs. This is Our Lady of Solitude, a variant of the devotion to the Virgin Mary known as Our Lady of Sorrows. The model, established by Gaspar Becerra in his *Virgen de la Soledad* at the Convent of La Victoria, gave rise to a distinctive and uniquely Spanish iconography for this devotion that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the devotion to Our Lady of Sorrows, since Mary’s Solitude is the last of the Seven Sorrows of the Virgin Mary. The third tier of the altar features a figure of Christ on Calvary, bearing the cross, and, finally, at the very top, a large gilded monstrance.
It is worth noting that, during Spanish colonial rule, a primarily religious style of painting developed, intended to Christianize the indigenous peoples. Local painters used Spanish works as models, which they followed literally in terms of figures and iconography. The most common motifs were archers and triangular-framed depictions of the Virgin Mary; however, in the early 19th century—during the era of independence and political liberalization in some of the colonies—several artists began to develop a new style of painting with its own distinct identity.