Novo-Hispanic or Madrilenian school; 18th century.

Novo-Hispanic or Madrilenian school; XVIII century.
"Virgin of the good advice".
Oil on canvas. Relined.
It presents restorations in the pictorial surface.
Measurements: 57 x 40,5 cm.

The present work bases its iconographic model on the Madrilenian advocation of the Virgin of the Good Counsel in her chapel of the collegiate basilica of San Isidro. We should compare this work with a similar trompe l'oeil executed by Herrera Barnuevo preserved in the Cleveland Museum.

This 18th century painting shows a devotional representation of the Virgin Mary holding the Child Jesus. The Virgin appears in a tender and protective posture, with the Child Jesus in her arms, dressed in red. Her clothing includes a blue mantle that falls with detailed folds, over a tunic decorated with floral motifs, symbolizing her purity and her role as mother of the church.
Above the Virgin's head, a golden halo or crown with rays of light stands out, surrounded by small cherubs that give her a celestial appearance. These cherubs, with childlike faces and wings, float around her, emphasizing the sacred and mystical nature of the scene. On the sides of the composition, decorated golden columns frame the central scene, and at the bottom, two vases with flowers emphasize the ornate and detailed character of this period.
The color palette is warm, with a predominance of brown, red and gold tones, typical of Novo-Hispanic baroque works, which seek to reflect wealth and devotion. The style suggests a focus on ornamentation and religious expressiveness, characteristic of colonial art in Latin America, where European influences were mixed with local elements to emphasize spirituality and Catholic devotion.
It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.