José Campeche is widely considered as the first visual artist of Puerto Rico. In his paintings, we can appreciate traits of the Rococo style, as evidenced in Campeche’s color palette and the richness and attentiveness to details and ornamentation he incorporates into his compositions. Campeche’s main body of work consists of religious paintings and portraits of influential people of his time. He was introduced to his artistic trade from a young age by his father, a self-taught painter, and was further influenced by the style and workmanship of Spanish painter Luis Paret y Alcázar. The patrimonial value of Campeche’s work is simply priceless; not only because of the quality of the paintings in his oeuvre but because of their significance as a historical record of a period of unprecedented transformation. We can see this quite explicitly in Campeche’s portrait of Governor Don Miguel Ustáriz, specifically, the window depicted behind him in the composition and through which we catch a glimpse of the pavement work being done on the streets of San Juan; today one the Capital City’s most important and beloved attributes. His religious iconography stands as a testimony to the importance that images of Saints and Biblical scenes had in the life of the faithful. Today, we can confidently state that Jose Campeche’s work,joining the ranks of the works of other Masters of the time, has made a significant contribution to the cannons on dexterity and efficiency that rule over visual communication on a global scale.
Virgen del Rosario (1779) by José Campeche y JordánInstituto de Cultura Puertorriqueña
This work is an example of the classic iconography of the Madonna and Child, with the Virgin Mary holding the Baby Jesus on her lap. Both are shown holding the rosary beads in an exquisitely simple composition.
Visión de San Simon Stock (1806) by José Campeche y JordánInstituto de Cultura Puertorriqueña
The Blessed Virgin and Child appear before St. Simon in a work that follows in the tradition of religious iconography dedicated to portraying the visions of saints. This work is presumed to be a copy of a Flemish or Italian prayer cards or stamps.
Inmaculada Concepción by José Campeche y JordánInstituto de Cultura Puertorriqueña
In this rendition of the Immaculate Conception, the Virgin is shown surrounded by clouds while standing over a crescent moon. 14 Cherubs present before her various offerings, like a palm leaf and a lily. This painting belonged to the Power Family whose descendant, Ramón Power y Giralt, became the first Puerto Rican to represent the Island in the Cadiz Courts (1810-1813).
Santa Teresa de Jesús by José Campeche y JordánInstituto de Cultura Puertorriqueña
Santa Teresa de Jesús is depicted here as a Doctor of the Church, writing under the inspiration of the Holy Ghost, as represented by a white dove. The work is a portrait –and not a copy– of a prayer card. To create this portrait Campeche used the description of the Saint’s features as described by Friar Diego de Yepez, the Saint’s confessor.
San José y el Niño by José Campeche y JordánInstituto de Cultura Puertorriqueña
San José (Saint Joseph) is depicted holding the hand of the Child Christ. In his left hand, he holds a staff with flowers on the upper end. The artist adds other religious symbols, such as the cross, which is being carried by cherubs.
Nuestra Señora de las Angustias (La Piedad) by José Campeche y JordánInstituto de Cultura Puertorriqueña
In this version of a Pietá, the Virgin is shown with the dead Christ’s head laid across her knees, with the walled city of Jerusalem depicted on her right-hand side. This composition is a copy of a prayer card or stamp, showing Christ being taken down from the cross.
Nuestra Señora de la Merced (1809) by José Campeche y JordánInstituto de Cultura Puertorriqueña
Campeche paints a version of La Virgen de la Merced (Virgin of Mercy) in a composition that includes two kneeling figures, a free man and a shackled prisoner, on each side of the Blessed Mother, both receiving a scapular from the hand of the Blessed Child and Mother respectively.
Virgen del Carmen con Donantes (1793) by José Campeche y JordánInstituto de Cultura Puertorriqueña
The Virgin holds Baby Jesus on her lap with a halo of twelve stars that crowns her head. The painting, which is a copy from a prayer card or stamp, carries the following signature: “José Campeche p.t 1793”.
Virgen de Belén (1778) by José Campeche y JordánInstituto de Cultura Puertorriqueña
Campeche depicts the Blessed Mother in a way that upholds the values of modesty that were commonplace at the time, covering the breast of the nursing Mother with a “purity cloth”. Throughout his career the artist reproduced this image many times, as these specific works were considered miraculous, leading to numerous commissions by devotees.
Crucifixión (Cristo de la Salud) by José Campeche y JordánInstituto de Cultura Puertorriqueña
An incredibly dramatic piece, the Virgin Mother and San Juan (St. John the Evangelist) stand on each one of Jesus’ sides, while a visibly affected Mary Magdalene clings to the cross.
San Juan Bautista by José Campeche y JordánInstituto de Cultura Puertorriqueña
Campeche depicts San Juan( St. John the Baptist) as a young shepherd holding a cross with his left hand and a shell on his right. In the foreground we can see a lamb, which symbolizes the Agnus Dei or the Lamb of God.
Agnus Dei (Cordero místico) by José Campeche y JordánInstituto de Cultura Puertorriqueña
This representation of the Lamb of God is shown laying over a book with seven golden seals. Until 1935, the painting was part of a door in the Convent of the Carmelite Nuns. This image was used as the source of inspiration behind the national emblem of Puerto Rico.
