Spanish Baroque Art

Private collection (via Sotheby's)

Museo de Burgos, Spain (on loan from the Museo del Prado · P007736)

Museo de Burgos, Spain

Private collection (via Ansonera)

Museo de Cáceres, Spain (on loan from the Museo del Prado · P004693)

Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi (inv. 2279 S)

Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi (inv. 10201 S)

Private collection (via Sotheby's)

Misattributed by Sotheby's to Juan Fernández de Navarrete, called El Mudo

Currently displayed at the MNAA's new exhibition, Identidades Partilhadas: Pintura Espanhola em Portugal

Museu Nacional de Machado de Castro, Coimbra (MNMC 2649)

“This painting on copper is a relatively late work by the artist and one which beautifully expresses her piety and the deep sense of mysticism that pervades much of her oeuvre.  The Magdalene is depicted at the very moment of her conversion. Still attired in rich satin robes, she has swooned in ecstasy before a vision of heaven in the form of musical angels set against swirling clouds, while two kneeling angels tenderly support her. In the foreground can be seen her usual attributes:  the ointment jar, a skull and a scourge, to which the artist has carefully added the detail of dried blood.  It seems certain that Josefa knew works by Francisco de Zurbarán (indeed several of his panel paintings were included in inventories of her father’s, uncle’s and sister’s properties) and his influence can be seen here in the luminous touches of white and cream, and in the facial types and textiles.” (source)

“This painting on copper dates from the artist’s maturity.  With exquisite detail, and particular attention given to the depiction of the various textiles worn by the figures, Josefa depicts the Holy Family with Saint Elizabeth and the Infant Saint John the Baptist.  These figures, all grouped together at right, are set against a wonderfully theatrical vision of angels and cherubim descending from heaven.  Copper was Josefa’s preferred support in the first decades of her career, between 1647 and 1661, after which she painted mainly on canvas and on a larger format.  The present work [is] exceptional in this regard, demonstrating her mature technique, but on a smaller scale and with a miniaturist sense of detail.” (source)

“Josefa de Óbidos successfully infused this work with her enormous talent and inspiration, choosing a subject that was extremely unusual for the time, dressing the Virgin Mary in a gypsy hat, while a woman, also a gypsy, reads the Christ Child’s palm. The scene is overflowing with unrivalled tenderness and warmth.” (via Jaime Eguiguren Art & Antiques · read more + catalogue)

Private collection (via São Roque Antiguidades e Galeria de Arte)

Granada Cathedral (antesacristy), Spain