Novohispana School; second half of the 18th c... Lot n° 9

Novo-Hispanic School; second half of the 18th century. "Saint Anthony of Paula". Oil on canvas. Re-drawn. Measurements: 75 x 58 cm. Devotional image of San Francisco de Paula, who appears of whole body, barefoot and with the hands on the chest in devotional attitude. In a border on the left side of the scene, the words Charitas-Bonitas, Charity and Goodness, two of the virtues that are usually associated with the saint and which are normally referenced in his representation, can be read. One of the notable features of this scene is the appearance of various religious figures in the background, indicating that it is an artistic composition of a narrative nature that attempts to show the viewer different moments in the life of the saint. Saint Francis of Paola (1416-1507) was an Italian hermit and founder of the Order of Minims. At a very young age he began his life as a hermit on the outskirts of his native Paula. Gradually he became famous for his wonders, and around 1450 there was already a group of followers around him. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483, Francis of Paola went to France by order of the Pope and at the request of King Louis XI. There he carried out some diplomatic work on behalf of the Holy See, while at the same time trying to obtain its approval for a Rule for his congregation, which he finally achieved in 1493. Until his death, Francis of Paola enjoyed the support and protection of the French monarchs, and a few years after his death, processes for his canonisation were initiated in Calabria, Tourse and Amiens, in which numerous witnesses to his life and miracles testified. He was finally beatified in 1513 and canonised in 1519. The iconography of this saint is abundant. The best known effigy, which has inspired many painters, is the one by Jean Bourdichon, a French painter who was a contemporary of Francis of Paola. In it the saint appears in the habit, an old man with a grave face and a bushy grey beard, leaning on a simple staff. It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.