Provenance : from a prominent Dallas, Texas estate. Sold at Austin Auction Gallery in June, 2021.
Marian imagery has long been a foundational element of Christian icon painting since the Byzantine era to contemporary visual traditions, and various cultures around the world have assimilated and appropriated it in their own respective contexts accordingly. Such is the case with Mexico, as the Marian devotional theme is explored through local folklore which narrates the episode of Mary's apparition appearing four times before the peasant St. Juan Diego in Tepeyac ("Virgin of Guadalupe"), Mexico in 1531 CE. The typical visual grammar that makes up this image comprises a mestiza or mixed-race woman standing in front of a sunburst, on a crescent moon and appears on the tilma (cloth cloak) of Juan Diego. The painter, Tiburcio Sanchez chooses to depart from this conventional representation of Mary in the form of the Virgin of Guadalupe and turns to a less common image in the Mexican context; "Our Lady of Perpetual Help". The roots of this image seem to originate in Crete or the Middle East during the late medieval period (1400s), showcasing formalistic elements that are generally associated with the Byzantine iconographic styles; Hodegetria and Cardiotissa. The Hodegetria style is centered around Mary being the guiding figure; "She Who Shows the Way" as she holds infant Jesus on her left arm while her right hand gestures towards him. Jesus blesses the viewer with one of his arms while holding a scroll or book with the other. The figures are usually frontal and slightly distanced from one another. Highlighting theological doctrines, the imagery emphasizes Christ as the divine savior and Mary as the guide, pointing humanity towards salvation. Tiburcio borrows his composition from the framework of the latter Cardiotissa style, wherein, Jesus is typically positioned near Mary's chest, often embracing her. Comparatively, this style is highly expressive and emotional and its elementary features appear to have derived from the Eleusa (tenderness) tradition. This pictorial framework is rooted in religious doctrines as well but rather than upholding a rigid iconography, its emphasis is more so on human affection, maternal bond and compassion of Mary. The original work that serves as a model for further representations is a wooden icon. The two archangels appear on either side of the composition, displaying the instruments or tools of Jesus' future crucifixion; St Michael holds the lance and the sponge with gall while St Gabriel holds the cross and the nails. Christ is depicted with one of his sandals dangling, symbolically expressing the fear with which he ran to Mary after seeing the archangels. Luminous golden halos are present around all four of the subjects, as they are situated against a darker, neutral yellow ochre background. Influenced by the ideals of his alma mater; San Carlos school of painting, Tiburcio Sanchez attempts to translate the image into the Mexican academic mode. Known as a celebrated academic portraitist and secular painter of the 19th century, Tiburcio has managed to leave a lasting legacy as an inspiration for future generations of art practitioners in Mexico.
In the artwork title "Nuestra Señora del Perpetuo Socorro," in English "Our Lady of Perpetual Help," by Mexican artist Tiburcio Sánchez de la Barquera, the viewer is presented with a Marian image that not only departs from the conventional representation of the Virgin Mary in the form of the Mexican Our Lady of Guadalupe, but also from the original Byzantine representation of Our Lady of Perpetual Help. While the imagery is similar to the Byzantine icon, the figures of the Virgin Mary, the Child Jesus, and the Archangels Sts. Michael and Gabriel are translated into Sánchez's Mexican academic mode. Thus, those who are familiar with the Byzantine icon may find this representation both familiar and unfamiliar, but in a way that humanises the divine figures.
Yet, like much Marian imagery depicting the Virgin Mary with the Child Jesus, this painting expresses the maternal love and care that the Virgin Mary has not only for her son but also for humanity, as she guides us towards her son. This painting also humanises the Child Jesus, who, like any other child, runs to the familiar embrace of his mother to find comfort to calm his fears upon seeing what the future holds for him, with the archangels holding the instruments of his future Passion and Crucifixion. The archangels seem to express compassion for the child who is going to undergo this suffering as he runs to his mother for comfort. This painting expresses love and care in both a divine and human sense.
