Spanish school; 19th century.

Spanish School; 19th century.
“Dolorosa,” 1890.
Oil on canvas.
Signed M. de Alarcón.
Measurements: 42 x 33 cm; 55 x 47 cm (frame).
Devotion to the Sorrows of the Virgin has its roots in the Middle Ages and was particularly widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations centered on the Virgin Mary in her “Dolorosa” aspect, the earliest of which depict her alongside the Infant Jesus, who sleeps oblivious to the future suffering that awaits him. In these works, the cross—the principal symbol of the Passion—is usually present, even embraced by the Child, while Mary watches him with a poignant expression. Another aspect is that which forms part of the Pietà, similar to the previous one, though here her Son is dead, not asleep, depicted as an adult and following his crucifixion. In the oldest depictions of this theme, Christ’s body appears disproportionately small, symbolizing the mother’s memory of her Son’s childhood, when she would gaze upon him sleeping in her lap. Finally, the Virgin of Sorrows and Solitude is also of great significance, depicting Mary alone, sometimes with her heart pierced by one or more swords. Since this depiction resonates deeply with popular sentiment, the iconography of Our Lady of Solitude was developed from that of Our Lady of Sorrows: Mary, completely alone, is haunted by memories of the key moments of her life, grieving in solitude, without her Son. In this theme, the Virgin is often depicted weeping, with torrents of tears streaming down her cheeks.