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Angelino Medoro (Naples, 1567 - Seville, 1631)
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Description
Angelino Medoro (Naples, 1567 - Seville, 1631)'The Birth of Jesus'Oil on canvas. Relined.97 x 81 cm.Attached is a study of pigments dating the work to the 16th century.This painting is undoubtedly one of the most delicate and marvelous examples of the influence of Italian art—specifically that of Raphael—to be created in the Viceroyalty of Peru. In this case, the painting is attributed to Angelino Medoro, in our opinion .The Virgin’s face is sweet, technically impeccable, and conveys deep emotion, inspiring devotion.In recent years, important Peruvian scholars have emphasized Raphael’s work as the seed of the Peruvian Baroque.Thanks to an article by Enrique Planas in the newspaper El Comercio, we read, among other things, interesting statements such as that of art historian Luis Eduardo Wuffarden: he "pointed out that the immense influence of the Italian painter is present in our Baroque painting, citing as a clear example an evident follower like Mateo Pérez de Alesio (Lecce, 1547 – Lima, 1628), an Italian artist who left in Peru such memorable artworks as the Virgin of the Milk, now exhibited in the MALI collection."The article continues with the response to this same question by Ricardo Estabridis, Doctor of Art History and Senior Professor at the Universidad Nacional Mayor de San Marcos:“For him, the first thing to consider is that it was Raphael of Sanzio who planted the seed of 'Mannerism,' the artistic style that emerged in Italy at the beginning of the 16th century, characterized by the abundance of complex and unnatural forms. 'In the last years of his life, Raphael began to question classicism, challenging the High Renaissance linked to Vatican circles. His seed would develop after his death, which is why the year 1520 is considered the birth of the first stage of Mannerism. It is a style that reaches us through Italian painters such as Bernardo Bitti, Mateo Pérez de Alesio, and Angelino Medoro, who worked in Peru,' the researcher explains." (El Comercio newspaper.)Now, it is not that Bitti, Alesio, and Medoro strictly followed Raphael's style; however, as Estabridis notes, it is the Italian master who initiated the movement that decided to break with classical symmetry and the traditional central placement of the principal figures in paintings."Baroque art proposes a return to Raphael, but not to the artist who challenged the classics, rather to the creator of his characteristic and classical Madonnas. This type of imagery is revived, a great example being The Virgin of the Milk by Alesio, painted on a copper plate and now part of the MALI collection. There are Madonnas painted by Bitti in the same line. In fact, if we observe several of his paintings, we can see that the neckline of the Virgin’s tunic has the same squared cut as in Raphael’s Madonnas. This shows Raphael’s influence on clothing, the sweetness of the scenes, and the treatment of the faces. It is a return to the classical Raphael, this time as part of the Counter-Reformation spirit," the historian states.Angelino Medoro was an Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a "Virgin of Antigua" for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a "Descent from the Cross", inspired by a painting by Pedro Pablo Rubens, and a "Lamentation", which belong to the Convent of Santo Domingo de Tunja.He also painted a "penitent Mary Magdalene" for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a "San Antonio de Padua" and a sculpture of "Nuestra Señora del Socorro".In 1600, he traveled to Lima, where he made several paintings, including a "Señor de la Columna" and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a "Santa Margarita" which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year.It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.”Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro
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Angelino Medoro (Naples, 1567 - Seville, 1631)'The Birth of Jesus'Oil on canvas. Relined.97 x 81 cm.Attached is a study of pigments dating the work to the 16th century.This painting is undoubtedly one of the most delicate and marvelous examples of the influence of Italian art—specifically that of Raphael—to be created in the Viceroyalty of Peru. In this case, the painting is attributed to Angelino Medoro, in our opinion .The Virgin’s face is sweet, technically impeccable, and conveys deep emotion, inspiring devotion.In recent years, important Peruvian scholars have emphasized Raphael’s work as the seed of the Peruvian Baroque.Thanks to an article by Enrique Planas in the newspaper El Comercio, we read, among other things, interesting statements such as that of art historian Luis Eduardo Wuffarden: he "pointed out that the immense influence of the Italian painter is present in our Baroque painting, citing as a clear example an evident follower like Mateo Pérez de Alesio (Lecce, 1547 – Lima, 1628), an Italian artist who left in Peru such memorable artworks as the Virgin of the Milk, now exhibited in the MALI collection."The article continues with the response to this same question by Ricardo Estabridis, Doctor of Art History and Senior Professor at the Universidad Nacional Mayor de San Marcos:“For him, the first thing to consider is that it was Raphael of Sanzio who planted the seed of 'Mannerism,' the artistic style that emerged in Italy at the beginning of the 16th century, characterized by the abundance of complex and unnatural forms. 'In the last years of his life, Raphael began to question classicism, challenging the High Renaissance linked to Vatican circles. His seed would develop after his death, which is why the year 1520 is considered the birth of the first stage of Mannerism. It is a style that reaches us through Italian painters such as Bernardo Bitti, Mateo Pérez de Alesio, and Angelino Medoro, who worked in Peru,' the researcher explains." (El Comercio newspaper.)Now, it is not that Bitti, Alesio, and Medoro strictly followed Raphael's style; however, as Estabridis notes, it is the Italian master who initiated the movement that decided to break with classical symmetry and the traditional central placement of the principal figures in paintings."Baroque art proposes a return to Raphael, but not to the artist who challenged the classics, rather to the creator of his characteristic and classical Madonnas. This type of imagery is revived, a great example being The Virgin of the Milk by Alesio, painted on a copper plate and now part of the MALI collection. There are Madonnas painted by Bitti in the same line. In fact, if we observe several of his paintings, we can see that the neckline of the Virgin’s tunic has the same squared cut as in Raphael’s Madonnas. This shows Raphael’s influence on clothing, the sweetness of the scenes, and the treatment of the faces. It is a return to the classical Raphael, this time as part of the Counter-Reformation spirit," the historian states.Angelino Medoro was an Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a "Virgin of Antigua" for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a "Descent from the Cross", inspired by a painting by Pedro Pablo Rubens, and a "Lamentation", which belong to the Convent of Santo Domingo de Tunja.He also painted a "penitent Mary Magdalene" for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a "San Antonio de Padua" and a sculpture of "Nuestra Señora del Socorro".In 1600, he traveled to Lima, where he made several paintings, including a "Señor de la Columna" and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a "Santa Margarita" which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year.It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.”Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro
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