Private collection, Jérez de la Frontera (Cádiz), Spain, since ca. 1850; INBLAN Art, SL, Madrid
The painting "The Virgin of Carmen and the Souls of Purgatory with St. Joseph and the Prophet Elijah", created around 1720 by Spanish painter Juan Francisco de Aguilera, represents one of the greatest examples of colonial Mexican religious art. Painted in oil and gold on copper, it stands out for its luminosity and the artist's attention to detail, which he successfully achieve in smaller format. At the center of the composition, Our Lady of Mount Carmel holds the Child Jesus while offering the “scapular”, a symbol of protection and salvation for the souls in the Purgatory. On both sides, more important figures can be seen, which belong to Saint Joseph, easily recognizable by his flowering staff and the prophet Elijah, a key figure in the Carmelite tradition. At the bottom, the souls emerge from the flames with gestures of supplication and hope. Aguilera depicts them with loose, expressive brushstrokes that convey both suffering and the possibility of redemption. The composition combines the drama of the scenes from Purgatory with a message of consolation and divine intercession.
Although little is known about the life of Juan Francisco de Aguilera, it is known that as an artist he worked in New Spain during the early decades of the 18th century. His painting is distinguished by a confident technique and dynamic brushwork, as well as a great ability to create effects of light and atmosphere.
This painting has a lot going on, but it really draws your eye right to the center where the Virgin Mary is sitting quite gracefully on a cloud. She’s wearing this beautiful, deep blue cloak trimmed with gold over a brown dress, and she has a crown resting on her head. In her arms, she's holding the baby Jesus, who looks surprisingly chubby and sweet, just looking out at us. Around them, there's a soft, glowing light that sort of separates them from everything else.
Now, on the left side, there is St. Joseph, dressed in a green robe with a brownish cloak over it. He’s holding a staff with some white flowers blooming at the top, looking up toward Mary with a really gentle expression. Then on the other side the right, you’ve got the prophet Elijah. He looks older, with a gray beard, and he’s holding this flaming sword, which looks pretty intense compared to the rest of the scene.
Down at the bottom, things take a bit of a darker turn. There are all these souls trapped in purgatory, surrounded by orange and red flames. They look pretty desperate, honestly some have their hands clasped in prayer, while others are reaching upwards, just hoping for some kind of help or relief. One guy on the far left even has a chain on his arm. It's a stark contrast to the peaceful look on Mary's face as she looks down toward them, holding out a scapular, like she's offering them a way out.
There are also tons of little angel heads with wings cherubs, I guess, floating around in the clouds both above Mary and right under her feet, watching the whole thing unfold. The overall mood feels very dramatic but hopeful at the same time, with the soft, heavenly clouds above and the harsh fire below creating a pretty powerful balance.
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By: ARNAV DEY
The above painting represents one of the finest examples of realistic style if painting which emerged in Latin America with European colonization, especially in Mexico. This is also reflected in the theme, which shows figures mentioned in the Bible and revered in the Christian tradition. As a piece of art, the painting is an exquisite artwork resulting from a brilliant combination of smooth, flowing brushstrokes, perfect use I light and shade, use of brilliant colours, high level of accuracy in human anatomy and a linear perspective- all rendering the extraordinary excellence to it coming together.
