Viceroyalty school: XVIII century.

Viceroyalty school: XVIII century.
"The Triumph of Jesus".
Oil on copper.
It has an adapted frame, made in silver.
Measurements: 23.5 x 20 cm; 39 x 29 cm (frame).
In this work Christ child is represented as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ, as universal savior, in relation to his role as judge in the Final Judgment and to his character of Redeemer. It is characterized by presenting Christ raising his right hand as a sign of blessing, while holding an orb with his left hand, although, in this case, the Child is placed on the orb stepping on the skeleton with his feet, in such a way that it represents the triumph over death and brings the resurrection to the viewer, a message that emphasizes the universal character of the Christian doctrine. The painting, which presents a completely scenographic composition, contains a multitude of martyrs, the Virgin, saints and the trinity of Jesus, God the Father and the Holy Spirit. We are before a work resolved in naturalistic language, a style ascribed to the baroque tradition of Spanish imagery.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programs were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or support, these images fulfilled the objective of sacralizing daily life beyond the altars. It is worth mentioning that during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.