Follower of Bartolomé Esteban Murillo; 18th century.

Follower of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682); XVIII century.
"Saint Rose of Lima.
Oil on canvas.
Presents faults.
It possesses frame of epoch.
Measurements: 83 x 62 cm; 93 x 72 cm (frame).
Devotional scene in which a saint is represented holding the Child Jesus in her arms as a maternity. The piece follows the model of the painting by Bartolomé Esteban Murillo that is currently in the collection of the Lázaro Galdiano Museum in Madrid. The Saint, with Dominican habit, kneeling, contemplates the Child Jesus, who sitting on a cushion on the sewing basket, raises his hands towards the Saint in a caressing gesture with the left hand, and with the right hand giving roses, to the right a building can be seen, undoubtedly the convent, and in the foreground a rose bush.
Specifically it is Isabel de Flores Oliva (Lima, 1586-1617), better known as Santa Rosa de Lima, was a Peruvian saint, Dominican mystic canonized in 1671. She is the first saint of America, patron saint of Lima and Peru since 1669, of the New World and the Philippines since 1670. In 1615 the Dutch corsairs decided to attack the city of Lima, and the news soon spread among the population. In response, Rosa gathered the women of Lima in the church to pray for the salvation of Lima. The saint went up to the altar, and cutting off her clothes and rolling up her sleeves, she put her body to defend Christ in the Tabernacle. Mysteriously, the captain of the Dutch fleet died on his ship a few days later, which led to the withdrawal of the ships. In Lima everyone attributed the miracle to Rosa, and for that reason she is usually represented in front of the sea, praying to God for protection against the corsairs.
For the technical characteristics the piece presents similarities with Murrillo's heir work. Formally, it stands out both in its close and human interpretation, clearly counter-reformist, and in its expressive intensity, which connects directly with popular fervor through a language based on the knowledge of the Italian and Flemish schools. Thus, the figures are eminently classical, as are the gestures and the faces, slightly idealized.