Coronation of the Virgin of the Rosary

Did you know that based on certain details of this artwork, its execution can be attributed to an Italian painter? Join us and discover them.

By Colonial Museum

Angelino Medoro (attributed)

Coronation of the Virgin of the Rosary (Ca. 1585) by Angelino MedoroColonial Museum

The cult of the Virgin Mary was one of the most significant in New Granada religiosity from the 16th to the 18th century. Despite being a belief promoted by the Council of Trent (1545-1563), it already had a long tradition rooted in Spain

In this case, it is represented the Virgin of the Rosary, recognizable by the rosary she holds in her right hand, this being one of her attributes. In his left arm, he holds the naked Child.

The devotional theme of the rosary was born in Europe in the 15th and 16th centuries as an element that, in a simple way, promoted the cult of the Virgin and a reflection on the mysteries of her life.

Within the religious orders, the one that most defended the cult and appropriated this element was the Dominican Order, as it turned the rosary into one of its distinctive elements.

In this case, the Virgin of the Rosary is presented crowned by two angels, an act that demonstrates, according to Christian tradition, the glory of the mother of Christ.

This work is attributed to the painter Angelino Medoro (1567-1631) one of the first Italian painters to travel to colonial America. He traveled from his hometown to Seville and from there to America, passing through cities such as Santafé, Tunja, Cali, Lima and Santiago de Chile

At the end of the 16th century and the beginning of the 17th century, the cities of colonial America became centers of interest for the migration of artists from different places in Europe to American lands.

Medoro was part of a triad of Italian artists who arrived on the continent, among whom were Mateo Pérez de Alesio (1547-1628) and Bernardo Bitti (1548-1610), who were responsible for spreading the artistic style known as Mannerism.

Developed in the second half of the 16th century, in this style, the bodies and their movements are exaggerated, an aspect that can be noticed in the elongation of the figures and the prominent role played by the folds and textures of the fabrics.

In the case of this Virgin, both aspects are evident: both the anatomy of the protagonists of the scene, and the treatment the painter gives to Mary’s red tunic based on the contrast of light and shadow, which highlights the folds and the textile movement.

Coronation of the Virgin of the Rosary 
Angelino Medoro (attributed) 
Tempera on wood 
59 x 51 c

Credits: Story

Créditos
MUSEOS COLONIAL Y SANTA CLARA

Dirección / Museum Director
María Constanza Toquica Clavijo

Curaduría / Curation
Anamaría Torres Rodríguez
María Isabel Téllez Colmenares

Administración de colecciones / Collection Management
Paula Ximena Guzmán López

Editorial / Editorial
Tanit Barragán Montilla

Divulgación y prensa / Communications
Jhonatan Chinchilla Pérez

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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