Restored in 1993. Provenance from the Church of San Pedro, Antequera. It is in Good condition, with some dents. On October 16, 2001, the frame was exchanged with the one belonging to 'The Coronation of the Virgin'. It was featured in the exhibition "Juan Valdés Leal y el Arte" (Juan Valdés Leal and Art) from 5th August to 5th December 1995. Also featured in "Mater Amabilis" (Episodes from the History of the Virgin in Andalusia), sponsored by Cajasur, San Hermenegildo Exhibition Hall, Seville (October 24 to November 28, 2001).
Juan Correa, born around 1646 C.E. is a Mexican painter of the colonial era. He is regarded as the pioneer of the Mexican Baroque art movement alongside Cristobal de Villalpando. Much of his work comprises religious allegorical imagery as he was a surgeon associated with the Holy office. As an Afro-Mexican, he became an established painter during a time when Mexico (New Spain) was deeply stratified by race and class. The scene depicted in the painting "Desposorios de la Virgen" or "The Espousals of the Virgins" is derived from early writings or Gospels, the authenticity of which has been a subject of debate. Two texts; The Gospel of Pseudo-Matthew and The Book of the Nativity of Mary describe the method by which Joseph was selected as Mary's husband. Unmarried men or widowers from the tribe of Judah were called and asked to submit a staff within the temple, the holy choice would be revealed when one of these staffs blossomed or led to the emergence of a dove, a sign traditionally associated with Joseph’s staff. Portrayals as such are a common theme visible in the churches of the 17th and 18th century Mexico (New Spain). Correa expressed this subject on several occasions, with two versions being verified, one exhibited in the Museum of Antequera (Spain) and another housed in a church in Gesu, Montreal (Canada).
The Painting present in the Museum of Antequera was produced in the late 17th century, there are no extant records stating an accurate date. It displays a visual language of the colonial era Baroque art found in Spain and Mexico (New Spain) indicated by a dramatic play between light and shadow, with manneristic undertones and minute influences of Flemish painting visible through the facial expressions and a bright chromatic colour palette. The maiden positioned behind Mary is an attendant assigned as a companion to the virgin upon her departure from the temple, while the man standing behind Joseph may be interpreted as another probable suitor who had been summoned for the selection process. The pyramidal composition is framed beneath a luminous dove and Cherubim, reinforcing the sacred significance of the event. This subject is also vital with the context of the Counter-Reformation movement as it emphasizes the sanctity of marriage along with the purity of the virgin and the legitimacy of the holy family. Many such works of Correa were produced for churches and convents in New Spain displaying the intense nature of religious patronage in Colonial Mexico.
Symbolism plays an important role throughout the painting. Saint Joseph is often identified through the flowering staff or lilies, referencing the biblical legend that his staff miraculously bloomed to indicate God’s choice of him as Mary’s husband. The lilies held by angels and attendants symbolize purity, while the dove above the figures represents the Holy Spirit and divine approval. Flowers scattered across the foreground further reinforce themes of fertility, grace, and sacred love. These symbolic details transform the marriage scene into both a religious narrative and a visual meditation on virtue.
