The Sun Never Sets

(About) A blog dedicated to the culture and history of the Spanish Monarchy, with a particular interest in the diverse artistic examples from the New World, this is, the viceroyalties of New Spain and Peru.

[ordopraedicatorum]

“I tell you nothing but that you should remain in the holy and sweet love of God. Sweet Jesus, Jesus, love…” – St Catherine.

This painting of St. Catherine of Siena is from St Dominic’s church in Caleruega, Spain.

[rubenista]

Jusepe de Ribera, The Sense of Touch, 1632. Oil on canvas, 125 x 98 cm. Museo del Prado, Madrid

[solnunquamoccidit]

Alegoría de la Eucaristía con Santa Teresa de Ávila, Santa Rosa de Lima y Santa Catalina de Siena

by unknown artist oil on canvas, 18th century

Iglesia de San Miguel Arcángel, Cayma

[tlatollotl]

Monte Alban, Oaxaca

[solnunquamoccidit]

Las lágrimas de San Pedro

by Bartolomé Esteban Murillo (Sevillan, 1617–1682) oil on canvas (104 × 148 cm), c. 1655

Diputación Foral de Vizcaya

[solnunquamoccidit]

[speciesbarocus]

A kid collects wax from a penitent’s candle during the Holy Week procession in Arcos de la Frontera, Spain, on 31 March 2015.

> Photo: Daniel Ochoa de Olza.

[solnunquamoccidit]

Los Reyes | Recolección de Nuestra Señora de Belén high altar

detail from the Nativity relief unknown sculptor, 17th century

Ministerio de Cultura de la República Peruana

[solnunquamoccidit]

Caxamarca | Hospital de Nuestra Señora de Belén

ph. BluesyPete, CC-BY-SA – via Wikimedia Commons

[solnunquamoccidit]

San Nicolás de Bari

by Pedro de Córdoba (Cordoban, fl. 1475) oil on canvas (c. 72 × 110)

Museo de Bellas Artes de Córdoba

[d3utschem4rk]

Escudo del Almirante Colón en el Monasterio de Santa María de la Rábida, Palos de la Frontera

ph. José Luis Filpo Cabana, CC-BY - via Wikimedia Commons

[solnunquamoccidit]

La estrella de Lima convertida en sol sobre sus tres coronas Title page

engraver Joseph Mulder (Hollandian, 1658 – 1742) 1688

John Carter Brown Library

[solnunquamoccidit]

Opstanding van Christus

by Gerard Seghers (Brabantian, 1591 – 1651) oil on canvas (240 × 324 cm), c. 1620

Musée du Louvre

[speciesbarocus]

Angel holding the dead Christ (17th c.).

@ Museo Diocesano y Catedralicio de Valladolid.

[speciesbarocus]

Penitents from the “Cristo de la Buena Muerte” Brotherhood, take part in a procession in Zamora, during the Holy Week, on 3 April 2012.

> Photo: Daniel Ochoa De Olza.

[ars-videndi]

Peter Paul Rubens (Flemish; Siegen 1577 - 1640 Antwerp), Descent from the Cross, 1617-18, oil on canvas, 297 x 200 cm. The Hermitage Museum

After the success of his monumental altar triptych for Antwerp Cathedral in 1614, Rubens received a number of commissions to produce variations on the central panel, which showed the Descent from the Cross. Unlike Netherlandish paintings of the 15th and 16th centuries, which presented a detailed narrative, Rubens treated the subject in accordance with the canons set out by the Council of Trent (1545-1563). Instead of a multi-figure composition, here we find only those directly mentioned in the Gospels. Thus the dead body of Christ is supported in silent grief by Joseph of Arimathaea, Nicodemus and the young John the Evangelist. Mary, gently holding her son for the last time, symbolizes the Christian virtue of resignation. Mary Magdalene has fallen to her knees, the personification of repentance. The simplicity used in conveying the emotional state of each figure, united as they are by a common feeling of unbounded sorrow, was dictated by the artist’s desire to emphasize their understanding of the necessity and inevitability of the Messiah’s self-sacrifice. (The Hermitage)

[solnunquamoccidit]

La Última Cena

by Juan de Juanes (Valencian, 1510 - 1579) oil on panel (84 × 92 cm), n. d.

Palacio de San Pío V, València