Provenance : Bequeathed by Mercedes Basabe in 1953
As an eminent baroque painter of the 17th century colonial Mexico, Juan de Miranda is recognised as a practitioner who produced an extensive amount of religious artworks for churches, convents, monasteries, etc all across Mexico. Suprisingly, irrespective of his status as an established master painter, scarcely any records of his life remain extant today. Miranda was part of a workshop tradition that focused on the production of Catholic devotional imagery during the counter-reformation. Miranda largely immersed himself in the creation of hagiographic pictography; idealised and reverential visual representations of holy figures, saints or religious leaders. Apart from religious subjects, Miranda also explored the genre of aristocratic and court portraiture earning himself a reputation of being a multifaceted painter. "The Assumption of the Virgin" is one of Miranda's popular devotional paintings, it represents the Catholic belief that Virgin Mary was bodily assumed into heaven at the end of her Earthly life. Miranda arranges the composition in accordance with the long established Christian iconographical framework depicting the ascendence of Mary amidst radiant clouds as angels and cherubs surround her. Miranda demonstrates masterful control over the treatment of the drapery as Mary's figure occupies the majority of the compositional space creating a sense of monumentality. Miranda adds dramatic appeal to the image as Mary gazes up into the heaven, allowing the viewer to contemplate and reflect on the spiritual sphere of their life. The painting is a brilliant example of devotional baroque art of the 17th century.
"The Assumption of the Virgin" is a striking work of religious art created by the colonial Mexican artist Juan Carreño de Miranda. The work depicts the Virgin Mary ascending into heaven, as was put forth in the catholic belief that, upon her death, Mary ascended into heaven. We see what seems to be white crown of thorns floating above her head as she ascends, likely linking her to the level of Jesus and thus divine. Cherubims float around her in the clouds, witnessing Mary ascending into heaven, thus adding to the divine imagery of the scene. The work exemplifies religious Baroque imagery.
