New Hispanic/Mexican School, active in Zacatecas and Durango, 1726-1767 / Escola Novo-Hispânica/Mexicana, ativa em Zacatecas e Durango, 1726-1767



This painting’s composition is reminiscent of the Annunciation scene, without the presence of the archangel Saint Gabriel. The Virgin is seated, dressed in a blue cloak adorned with golden stars over a red garment. She is depicted sewing a white cloth while reading a book, which rests on a stand to her left. Above the book is a vase containing white lilies, a symbol of Mary's virginity. The Madonna is placed against a backdrop of Renaissance-inspired architecture, and to her right, God the Father holds the Orb, surrounded by a group of angels.
During the Spanish colonial rule mainly religious paintings were executed aimed at Christianising the indigenous peoples. Local artists closely followed Spanish models, adhering strictly to their iconography[1]. Popular themes included harquebusier angels and Virgins.
However, in the 18th century, as some colonies began to open politically, a new artistic identity began to emerge. In Mexico, this shift was influenced by European artists such as Andrés de la Concha and Baltasar Echave from Spain, or the Flemish painter Simon Peyrens. The first generation of Baroque painters born in Mexico, who were often the sons of these earlier artists, primarily received religious commissions from the clergy, as well.
Ovalle was likely born in Mexico City, in the last years of the 17th century. After his wedding, he moved to Zacatecas in 1723, and his first dated work, The Immaculate Conception of Guadalupe, was completed in 1736. He operated in Durango and Zacatecas[2], and in 1747, he moved to Guadalupe where he lived until his passing, having painted 15 canvases for the Franciscans of this town.Ovalle, more than a simple producer of religious imagery, was a creative force, a fact evident in this small painting. There are pictorial traits that define his unique style. His palette and drawing expresses emotions and feelings in his characters, making Ovalle exclusive in the universe of baroque painters[3].
Recognizing the expressivity of his Guadalupe series, Francisco Monterde[4] compared Ovalle to famous painters such as El Greco and the surrealists. Francisco de la Maza[5], referencing his Passion paintings, described the artist as a "rebel" and "revolutionary," defining him as a "passionate painter."
While some of his works, such as those in the Passion series[6], feature strong colours, relatively hard lines, and marked contrasts, our painting – as well as the Immaculate Conception (1736) or The Transit of the Virgin from the Museum of Guadalupe - is composed with lighter general tones and is organized in a more spacious composition, an effect achieved through the inclusion of landscapes and lighter backgrounds[7].
The spatial and palette differences between the Marian and passion themes are deliberate. The intentionality in the plastic resources in Ovalle's iconography has a parallel with the most important European artists of that period, a result of deep knowledge of their work, as well as the engravings by Rubens and Wierix, which the painter knew how to manipulate, adding elements and placing emphasis on some details.
Although Ovalle works are inseparable from the New Spain painting, with a stylistic approach parallel to the European one, we must recognize the painter's creative capacity within a context of "rebelliousness", his style varying with the iconography, not using pre-established schemes, neither stylistic nor temporal.


Bibliography:


Clara Bargellini, Anales del Instituto de Investigaciones Estéticas, vol.23 n.78, Mexico City, 2001
Clara Bargellini, "Gabriel José de Ovalle, pintor en Durango y Zacatecas", en Transición, núm. 13, 1993, pp. 44-47
Francisco Monterde, "La Pasión del pintor Gabriel de Ovalle", en El Hijo Pródigo, núm. 3 1944, pp. 79 ss.
Francisco de la Maza, "Los pintores del Museo de Guadalupe", en Caminos de México, n. 23, 31 de octubre de 1956.
Clara Bargellini, " 'Amoroso horror': arte y culto en la serie de la Pasión de Gabriel de Ovalle de Guadalupe, Zacatecas", en XVIII Coloquio Internacional de Historia del Arte: Arte y violencia, México, UNAM, Instituto de Investigaciones Estéticas, 1995, pp. 499-524.

[1] Clara Bargellini, Anales del Instituto de Investigaciones Estéticas, vol.23 n.78, Mexico City, 2001
[2] Clara Bargellini, "Gabriel José de Ovalle, pintor en Durango y Zacatecas", en Transición, núm. 13, 1993, pp. 44-47
[3] Clara Bargellini, Anales del Instituto de Investigaciones Estéticas, vol.23 n.78, Mexico City, 2001
[4] Clara Bargellini, "Gabriel José de Ovalle, pintor en Durango y Zacatecas", en Transición, núm. 13, 1993, pp. 44-47
[5] Francisco Monterde, "La Pasión del pintor Gabriel de Ovalle", en El Hijo Pródigo, núm. 3 1944, pp. 79 ss.
[6] Clara Bargellini, " 'Amoroso horror': arte y culto en la serie de la Pasión de Gabriel de Ovalle de Guadalupe, Zacatecas", en XVIII Coloquio Internacional de Historia del Arte: Arte y violencia, México, UNAM, Instituto de Investigaciones Estéticas, 1995, pp. 499-524.
[7] Clara Bargellini, Anales del Instituto de Investigaciones Estéticas, vol.23 n.78, Mexico City, 2001