Joaquín Andrés Antonio de Almazán y Ximeno

JOAQUÍN ANDRÉS ANTONIO DE ALMAZÁN Y XIMENO, (Aragón,1762 - Madrid, 1828).
"Virgin of the Forsaken".
Oil on canvas.
With certificate of authenticity of José Gómez Frechina.
Measurements: 190 x 140 cm. 190 x 140 cm. (frame).

Devotional scene in which the figure of the Virgin of the homeless with the Child held with one of his hands. The Child, crowned like his mother, holds in his hand the work. Both are inscribed in architecture in neutral tones, representing the earthly.

The Virgin of the Forsaken is the patron saint of Valencia and is characterized by having a slight forward inclination; for this reason, the Valencians know her affectionately as La Geperudeta (La Jorobadita). Her devotion dates back to the 15th century and her origin is linked to one of the Valencian glories: the foundation of the first hospital in the world for the insane and homeless poor. According to tradition, Friar Juan Gilberto of the Mercedarian Order, while preaching in the cathedral, witnessed the sad spectacle of children mistreating a madman. After this episode, he urged the Valencian patricians to create the hospital, achieving that Martin V the Humane dictated a privilege in 1410 for its constitution, with the name of Hospital de Inocents, folls y orats (Hospital of Innocents, folls and orats). It was decided to place the hospital under the protection of the Virgin Mary with the title: Nostra Dona Sancta Maria dels Ignocents. Thus arose the devout sculptural image of the Virgin, embodying charity, traditionally carved by pilgrims. Originally, it was a recumbent sculpture placed on the coffins of the brothers of his brotherhood, but in the seventeenth century is presented standing. The iconography of this image has been studied by Father Emilio Aparicio Olmos in "Santa María de los Inocentes y Desamparados", Valencia, 1968.

From the middle of the 15th century in Valencia, the wealthiest families could have the Virgin of the Forsaken in their homes for a short period of time. The sculpture was changing from house to house being always the nobles and people of great wealth the bearers of the piece. During this time, the families called the best painter in the area to portray the Virgin in their homes, and to keep a record of it. In addition, the Virgin of the Forsaken would continue to protect them.

The work we present here shows a common characteristic in the recreation of the vases and floral motifs at the ends of the composition, similar to the canvases in the chapel of Jesus in the church of the convent of the Pilar, which are also by Joaquín Ximeno. Inside a niche, the Virgin of the Forsaken, as helper and protector of our afflictions. In her right hand, a lily and in the other, on her left hand, the Child Jesus carrying a cross. Her dress is richly adorned with a large number of votive offerings and at her feet, the helpless children. In the foreground, a group of flowers distributed horizontally and in a descending-ascending direction, the decorations with vases of flowers and flowers around candelabras follow one another.

One of the first works with this theme that are preserved is that of Tomás Yepes, preserved in the Monastery of the Descalzas Reales in Madrid. Other copies were painted by Jerónimo Espinosa in 1666. Two works painted by Joaquín Ximeno are known, one conserved in Ibiza in the cathedral of the Virgen de las Nieves and the other in the Bancaja Foundation of Valencia.

Son of Joaquín Generoso Ramón Rafael de Almazán y Martínez, born in the town of Ademuz, in the kingdom of Valencia, on July 18, 1730, and Joaquina Francisca Hermenegilda Inés Ximeno Almazán, born in Torrente (Aragón) on April 18, 1722. His parents married in Torrente on November 3, 1748.

After obtaining his bachelor's degree and law degree, he moved to Madrid, where he held the position of lieutenant of corregidor in 1816. Two years later, he became the most senior lieutenant of all, and by royal decree, dated July 4, 1818 and published in the Chamber on July 6 of the same year, he was appointed mayor of Casa y Corte, replacing Tadeo Soler, who had been promoted to minister of the Royal Council. He assumed this post on July 22, 1818 and held it until the cessation of the Chamber at the beginning of the Liberal Triennium.

With the restoration of the absolute regime, it was decided to reopen the Sala de Alcaldes de Casa y Corte, and so he resumed his post as mayor on June 4, 1823. However, his tenure was brief, as he was promoted to the Council of War, taking office on February 23, 1824. Shortly thereafter, on March 20, 1824, a new royal decree named him minister of the Royal Council of Castile, highlighting his "loyalty and recognized adherence to my Royal Person." He took possession of this post three days later and remained in it until his death. He was replaced in his post by Tomás de Arizmendi, mayor of Casa y Corte.