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Premium Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - …
Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - …
Lot no. 80
Description
Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773)
'Mystical marriage of a Saint and the martyrdom of Saint John the Baptist in the presence of the Virgin Mary with her Son and other celestial figures'
Oil on panel.
30 x 37 cm.
A curious depiction of a “two-in-one” scene, combining the tender brushstrokes of the mystical marriage of a saint—whose identity remains unknown due to the absence of specific iconographic attributes—with the harrowing image of the freshly severed and bloodied head of the Forerunner, joined by the sword that beheaded him at the request of Herodias.
In a composition reminiscent of Flemish painting, featuring a detailed interior, touches of architecture, and a background landscape with mountains and a city to the right, two angels burst through the celestial space of the room. One bears the crown of roses and glory received by the mystic at the moment of her mystical union; the other holds the palm of martyrdom, associated with Saint John the Baptist, and also alluding to the palm carried by Christ at His entry into Jerusalem.
Among the heavenly figures are a choir of singing angels and a musician. The angel playing the lute or guitar looks directly at us, as if calling for silence and attention; the three singing angels to the right—a veiled symbol of the Trinity—celebrate the victorious moment in the lives of these two saints. They are richly dressed, adorned with embroidered garments, floral motifs, and surplices.
The pair on the left, who seem to be commenting on the events, and those angels flying above the scene, stand out for their red and blue colours, seen in their robes or wings. As noted in other instances, blue in iconography symbolises the divine, the heavenly, peace, and faith, while red represents vital energy, Christ's spilled blood, sacrifice, and love. These two colours reflect the two contrasting paths of the saints depicted here.
The saint in the mystical marriage resembles, in both posture and dress, Saint Catherine of Alexandria as painted by Juan Carreño de Miranda in the painting held by the Venerable Third Order in Madrid, or also the saint painted by Martín Cerezo, currently in the Prado Museum. The Virgin and Child, with their gentle tilt of the head, are reminiscent of figures painted by Bartolomé Esteban Murillo, suggesting that the artist took inspiration from well-known painters.
What is particularly striking is the contrast between the joyful and sorrowful elements of the lives of these saints, two very different moments in their stories. It is possible that the painting was commissioned by individuals named Catherine and John, represented on the left and right as donor figures through the saints who share their names. Alternatively, it may have been a commission by a community of nuns for their convent, possibly dedicated to Saint John the Baptist. We cannot know for certain, but this contrast remains a powerful element of the composition, reflecting both the artist's creative licence and the intentions of those who commissioned the work.
Marcos Zapata is known for paintings that capture the rich religious tradition of colonial Peru. Among his most outstanding artworks is the monumental canvas of The Last Supper (1753), which adorns the refectory of Cuzco Cathedral. This painting is famous for the inclusion of local elements, such as the guinea pig, which replaces the traditional lamb, a detail that reflects how Cuzco artists adapted European iconographies to their Andean context. Another important example is the series of paintings on the life of St. Ignatius of Loyola, located in the Church of the Society of Jesus in Cuzco.
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