Attributed to Pedro de Moya

PEDRO DE MOYA (Granada, c. 1610- January 15, 1674)
"Virgin and Child".
Oil on canvas.
Work exhibited at the Museum of Fine Arts of Murcia.
Work reproduced in the catalog "Masters of Spanish Baroque, Granados Collection, Unpublished Work. Museum of Fine Arts of Murcia. 2020-2021. p. 152.
It presents restorations on the pictorial surface.
Preserves important period frame, c. 1690.
Measurements: 102.5 x 91 cm; 137.5 x 126.5 cm (frame).
This painting represents the virgin seated with the child Jesus playing in her lap. Although it is certainly a simple interior scene, it has some elements such as the beautiful glass jar with lilies on the table that could have a symbolic value and represent St. Joseph. Under the table there is also a sewing basket that could refer to Mary's industriousness. Also significant is the angel that offers to Saint Mary a basket with cherries that, due to its intense red color, could also be a prefiguration of the Passion of Christ. The composition presents the classic pyramidal disposition. At the vertex of this triangle would be the heads of Mary and her son, where the viewer's gaze is directed and is the most powerful narrative point of the work. The light comes from a window in the upper right corner, which provides a soft and homogeneous illumination without creating violent hallmarks. The work clearly presents characteristics typical of the Granada painting of the second half of the 17th century, following the influence shown by Alonso Cano and appreciable in other Granada painters such as Juan de Sevilla, Pedro Atanasio de Bocanegra and Pedro de Moya or Niño de Guevara in Malaga. It is an exceptional painting of first quality in this orbit mentioned, but it is certainly difficult to propose an accurate attribution. Some have seen in this work a certain relationship with others by Pedro Atanasio de Bocanegra, which is not at all far-fetched. It may also have some connection with other works such as the Virgin of the Good Milk of the parish of San Pedro and San Pablo de Granada, catalogued as anonymous from Granada at the end of the 17th century. The piece has certain similarities with the painting "Vision of St. Mary Magdalene of Pazzi" belonging to the collection of the Museum of Fine Arts of Granada. In both a similar chromatic range can be appreciated, especially in the use of an iridescent range appreciable in the pink and blue of the Virgin's mantle.
There is little biographical information about the life of Pedro de Moya, according to the words of Palominio, Pedro de Moya began his training in Seville under the guidance of the master Juan del Castillo. It was in that city where he established contact with the painting of Murillo and Alonso Cano, who influenced artistically in the pictorial conception of Pedro de Moya. It is known that he moved to Flanders, due to his military condition, and established contact with the painter Van Dyck, as well as with Rubens. The proximity with Van Dyck has led to think that Pedro de Moya moved to England with the master. It is probable that he returned to Spain in 1641, first in the city of Seville and later in Granada. It is probable that this condition of nomadic life hindered the investigation of his biography, in addition to this characteristic we must add a scarce knowledge of his artistic production, since at present there are few documented works of the master. Aesthetically his painting was defined by a style similar to that of Cano.