Spanish school of the late eighteenth century.

Spanish school of the late eighteenth century.
After RAFAEL XIMENO (Valencia, 1759- Mexico, 1807).
"The sweet consolation of St. Joseph".
Oil on canvas.
Relined.
Based on an engraving by JOAQUÍN BALLESTER (Valencia, 1740-Madrid, 1808), on an original painting by Ximeno.
Measurements: 73 x 51 cm; 79 x 57,5 x 3 cm (frame).

This painting is an ex-voto type devotional work representing St. Joseph as patron of the good death, a very popular theme in Catholic art, especially from the 17th century onwards. The composition is divided into two planes: the heavenly and the earthly, which intertwine at the final moment of the life of the faithful. In the upper right, St. Joseph is seated on clouds, wearing a blue tunic. He tenderly holds the Child Jesus, who carries the flowering rod, a traditional iconographic attribute of St. Joseph that alludes to his choice as husband of the Virgin Mary. Both look with compassion towards the scene below. Two angels on a cumulus cloud observe the scene. One of them holds a crown of flowers, symbol of the victory over death that awaits the pious soul.

The center of the composition is occupied by the figure of a dying man lying on his bed, covered by an intense red sheet that symbolizes passion and martyrdom, but may also allude to charity and divine love. The character, with an expression of supplication and hope, raises his gaze and extends his hand towards St. Joseph, seeking his intercession. At his side, a priest in a black cassock assists him in his last moments. With one hand he holds him and with the other he brings him a crucifix, reminding him of Christ's redemptive sacrifice. His gesture is one of consolation and spiritual guidance.

In the lower right corner, a demon with reddish skin and grotesque features is defeated and pushed into the depths, symbolizing the triumph of faith over temptation and evil at the crucial hour of death. The presence of small cherubs around the heavenly scene reinforces the sacred atmosphere and divine protection.

The work is in the neoclassical style of the late eighteenth century, although it retains elements of the drama and warmth of the late baroque. As a copy of a composition by Rafael Ximeno (one of the most important neoclassical painters in Spain and director of the Academy of San Carlos in New Spain), and based on an engraving by Joaquín Ballester, this painting is an excellent example of how devotional images were circulated and reproduced to spread faith and pious practices among the population.

A Spanish painter and draughtsman, Rafael Ximeno trained at the Royal Academy of San Fernando in Madrid thanks to a pension, and also studied in Rome (1783). In 1786, he became lieutenant director of the Royal Academy of San Carlos in Valencia, and in 1793 he moved to Mexico City as deputy director of the School of Fine Arts. During his career, he made many drawings that were later converted into engravings. Among them is his work on the very popular first Spanish adaptation of the novel Robinson Crusoe, by Tomás de Iriarte (1750-91). Four of these drawings are preserved in the British Library. This edition also includes engravings of drawings by José Juan Camarón y Meliá (1760-1819). The artist is also known for his engravings of illustrious personalities such as Carlos IV, Francisco de Quevedo and Pedro Calderón de la Barca, present in the series "Portraits of Illustrious Spaniards", engraved by Mariano Brandi, for whom he drew the designs.