Among his most important works, 16 canvases made for Huaquechula’s altarpiece in Puebla stand out, as well as the ones located in the church of Azcapotzalco made in 1681. Other works that shouldn’t pass unseen are La Transfiguración in the chapel Divino Redentor inside Puebla’s cathedral (1683) and the series of San Ignacio de Loyola’s life that he created at the end of his life in the Jesuit College of Tepoztlán. Finally, the three canvases which are considerated his masterpieces are La Apoteosis del Arcángel San Miguel, La Virgen del Apocalipsis, La Iglesia Militante and La Iglesia Triunfante, all of them located in México’s Cathedral sacristy (1684-1686).
He received his education from his father Antonio Rodríguez, soon he took advantage of them, at age 19 he signed a painting in which he reproduces the known image of Nuestra Señora de San Juan. With reason of Philip V’s swearing, he made a full body portrait of him. Juan Rodríguez’ works are more numerous than his brother’s, and some of them takes us to witness a grate painter, worth the Golden Century, and worth relating with the first artists. Rodríguez Juárez was a notable painter due to his artistic capacity and his vigor. The listed characteristics on the whole made him stand out from the rest.
Disciple in his firsts years of the painter Juan Correa, and follower of the artistic renovation driven from the brothers Juan and Nicolás Rodríguez Juárez. He colaborated in their workshop. Ibarra cultivated a language of pictoric modernity with strong italian and french influences in his work, which would become the direct antecedent of Miguel Cabrera’s work. As qualities of his work stand out his loose and light brushwork, and his faces with character, as well as a refined sense of composition and simetry. Also, the cautious anatomy study, a his cumbersome search of tonal contrast and the gradual reduction of his palette are distinguishing. The canvases from the Relicario de San José in the former Jesuit College of Tepoztlán (today the National Museum of the Viceroyalty) which represent the scape to Egipt and the sponsoring of Saint Joseph, and finally, his series of paintings for Puebla’s Cathedral: the four canvases of the Adoraciones in the exterior walls of the chorus, as well as the Viacrucis of the temple’s pilasters, the lasts ones were atritubuted during a long time to Miguel Cabrera.
Known as one of the top exponents of the barroque works from the viceroyal era in New Spain. He started his artistic career until 1740. The Marian theme, and more specifically the Guadalupe’s virgin, ocupies a big part of his work. He made paintings for the chapels of Mexico’s Cathedral, among them, the sacristy which harbors in one of his walls La Mujer del Apocalipsis. Also, he was a painter of the archbishop Manuel José Rubio y Salinas’ chamber, and founder in 1753 of the first painting academy in Mexico. Likewise, his author of many images of saints spread in numerous museums, convents and churches.
Another contemporary of Miguel Cabrera, his Casta Painting are his most noteworthy works. As well as many other artists in New Spain, he was a member of the painting school stablished in mid century. Important members of Mexico’s elite as the Viceroys Carlos Francisco de Croix and Antonio María de Bucarelli y Ursua commissioned him works. Morlete’s work is relevant to Mexico’s art history because he was one of the first artists who used some elements that further on would become standard in Casta Paintings. In them, details said everything. It was easy to determine the status of whom he was painting based in their clothing, their hair, and the environment. He also used corporal language to express attitudes and emotions atributed to the racial mixture. Some of his works can be found in the LA County Museum of Art.
He married Josefa María González in 1742. His extense work dates from 1750 until 1783. The most valuable pieces found from him are three sets of mural fabrics which decorate the Enseñanza de México’s temple, and the pieces for the sacristy of San Ildefonso’s chapel. We can also found big series of the life of Saint Elias in the Convent of del Carmen located in San Luis Potosí.
He represents a aesthetic and a vision of the world barely comprehensive and known nowadays. Páez ilustrates, as few others, a stream from the murillism that in New Spain had its own path. It’s indisputable the sophistication contained in this artist works, the refinement suggested to those who had perceived the values of the novohispano world. From his enormous production stand out: the series of Saint Francisco Solano’s life from the cloisters of the Propaganda Fide de San Fernando’s College in Mexico City, preserved in Zapopan. As a portraitist is worth highlighting the image of Joseph Velázquez de Lore, preserved in the National Viceroyalty Museum.
Although most of his career was developed in Mexico, it was recently confirmed that Miguel Melchor de Herrera was born in San Cristóbal de la Laguna in 1696 and that he took the Agustinian habit in the Holy Spirit Monastery in 1712. He trainned among other devouted of the order in artistic labour in there. However, the print of this era of learning is considered irrelevant for his catalog because hos valued mostly as a painter of the viceroyal painter. A lot of his paintings preserved in the Canaries could be valued in this sense: 14 paintings of an alleged series of 15 on the life of the Virgin in private collections, in the hermitage of San Amaro of the Puerto de la Cruz and in the headquarters of the Advisory Council of the Canaries, in La Laguna, and two small medallions in the Church of the Conception in Santa Cruz de Tenerige. From 1753, year of its foundation, friar Miguel de Herrera belonged to the first painting academy of Mexico. His production is documented until 1765.
The known works of this artist have arrived to our days in Aguascalientes, Zacatecas and Guadalajara. He’s also related to the handcrafting of five altarpieces which where displayed in the chapel of San Nicolás Tolentino in the Real de Naturales Hospital, and two canvases which he made for the Galician’s guild in the convent of San Francisco in Mexico. It is also known that he entered to San Carlos. His case is interesting because while being a painter formed in new hispanic workshops, he became in one of the most avowed members of the academy. De Alzíbar is the author of one of the best portraits of nuns, among those who are known, the portrait of Sor María Ignacio de la Sangre de Christo, professed from the convent of Santa Clara.
Indian painter formed in the academy of brothers Nicolás and Juan Rodríguez Juárez. His activity may be situated between 1722 and 1740. He’s the author of a magnificent portrait of the archbishop Juan Pérez de la Serna. Also, it’s worth highlighting a beautiful nun shield with his signature, apparently inspired in another of Juan Francisco de Aguilera. Touissaint atributes to him La Piedad in the Franciscans’ church of Cuautitlán.
- Juan Francisco de Aguilera (activo entre 1720 y 1730)
- Manuel Caballero
- José Ventura Arnaíz
- Acosta
- José Germán de Alfaro
- Juan Manuel de Ávila
- Lorenzo Barba Figueroa
- Diego Calderón
- Gabriel Canales
- Manuel Carcanio
- Juan de Cardona
- Ignacio de Castro
- Juan Antonio de Chavez
- José Manuel Domínguez
- Blas Enríquez
- Miguel Espinosa de los Monteros
- José Joaquín Esquivel
- Ignacio Estrada
- Figueroa
- Francisco Flores
- Juan Gallardo
- Manuel García
- Antonio González Cutiño
- Alejandro Guerrero
- Mariano Guerrero
- Jorge Guillén
- Ventura José Guiol
- Rafael Joaquín Gutiérrez
- Roberto José Gutiérrez
- Sebastián del Huerto
- Andrés Islas
- Tomás Julián
- Fray Pablo de Jesús
- José María de la Bastida
- Lobon
- Andrés López
- Cristobal López
- Carlos Clemente López
- Nicolás Martínez
- Bachiller Pedro Martínez
- Juan Medina
- Juan de Dios Mena
- Antonio Atanasio de Mendieta
- José Morlete
- Domingo Ortíz
- José Padilla
- Antonio Pérez de Aguilar
- Juan de Pino
- Pedro Quintana
- Antonio Ríos
- Román Ramón Ramos
- José Rivera
- Francisco Rodríguez
- Juan Nepomuceno Sáenz
- Pedro Rafael Salazar
- Antonio de Salinas
- Sebastián Salzedo
- Pedro Sandoval
- Ramón Torres
- Benito Vargas
- Diego Vásquez
- Mariano Vasquez
- Francisco Vega
- José Joaquín Vega
- José Vibar y Valderrama
- Joaquín Villegas
- Isstia
- Fray Pablo de Je
- Manuel de Osorio
