The first european artist in Mexico from whom we have proven news; he moved to New Spain in 1535. His specialty were serges painting, meaning, fabrics painted in tempera or in oil to decorate bedroom’s walls. He’s likely to have formed people in Mexico , even indigenous painters, the Tlacuilos.
His step to New Spain took place in 1566 from the courts of Lisboa and Madrid, as a painter of the Viceroy’s Marqués de Falces entourage, when he received the commission of painting battle scenes in the former palace of the Viceroys of Mexico. He also had contact with the Agustinians and the Franciscans. With the first ones he executed altarpieces for their capital’s church in Ocuila, Mixquic, among others. And for the Franciscans he made altarpieces in the churches of Tepeaca, Cuernavaca y Huejotzingo. He died in 1589 while he executed the major altarpiece in the old cathedral of Puebla. It’s almost certain that the magnificent piece Inmaculada Concepción in Mexico City’s Museum was also made by Simon Pereyns.
Painter, assembler and architect. His pictoric school is the Seville, where he learned with Luis de Vargas. In 1560 he arrived to New Spain. He executed the major altarpiece of the Antequera Cathedral, today Oaxaca in 1575. De la Concha made altarpieces in Teposcolula, the old church of Santo Domingo in Mexico City, as well as another one in the old Metropolitan Cathedral, and one more in Huejotzingo’s church. Andrés de la Concha also standed out in sculpture, showing specialty in polychromy, images stew, shaping, and the assembling of altarpieces.
The most important pieces from De la Concha are the ones found in the altarpiece of the Dominican church in Yanhuitlán, Oaxaca. According to Manuel Toussant, the painting of the remarked altarpiece shows Italian and Spanish influences which reveal the realism of the figures. Among the collection of the Pinacoteca Virreinal de San Diego in Mexico City, are preserved two of the most significant works of De la Concha: Sant Cecilia and La Sagrada Familia y San Juan.
He probably arrived to Mexico between 1580 and 1581. In 1590 he’s commissioned by his father-in-law to finish the major altarpiece in Puebla’s old cathedral, and another one dedicated to Saint Michael. In 1592, he executed a piece for the Dominicans, and in the following year, a statue of Santo Domingo for the same order in Chiapas. From the work made for the Franciscans, his attributed various pieces located in Xochimilco and Tlatelolco, some of them still preserved in the Pinacoteca Virreinal. For the Jesuits he made their major altarpiece and the paintings of other altarpieces which emblazoned the Profesa’s temple between the ending of the 16th century and the beginning of the 17th century. Echave, also known as “the old one”, obtained prestige from his era; he was the author of oeuvre which correct interpretation and intense feelings correspond to the style of the counter reform in the enforcement of the New Spain.
Spanish painter. He worked in numerous places of the former Spanish America. In Mexico he designated as a paintings veedor (1556). In Lima he executed a Christ for the cathedral. He also painted important paintings for San Francisco’s Church in Quito (1580). His offspring Andrés and Juan also standed out as painters.
Nahuatl and one of the most distinguished paintes of the New Spain during the first years of Mexico’s conquest. It’s attributed to him the authorship of the Guadalupe’s Virgin linen, as Fray Francisco de Bustamante indicated during one of his sermons in 1556. The issue is that Bustamante mentioned “Marcos” without saying the last name. The name Marcos Cipac de Aquino is not even registered in any document or text in the whole Colonial Era. Bernal Díaz del Castillo mentioned one Marcos de Aquino, the indigenous chronicler Juan Bautista mentioned one Marcos Cipac in his historical records. Bustamante said Marcos, and he relates that misterious man with the making of the guadalupana image. He’s also from the school of Pedro Gante.
It is credited to him the altarpiece of San José de los Naturales chapel, in collaboration with othe native painters, Marcos Cipac and Francisco Xinmamal.
It is credited to him the altarpiece of San José de los Naturales chapel, in collaboration with other native painters, Marcos Cipac and Pedro Chachalaca.
The younger brother of Claudio de Arciniega, this architect, sculptor and carver with whom he parts to New Spain in 1554. In 1574 he executes altarpieces in convents in Tula, and then in 1578, a sanctuary for a franciscan church in Tlaxcala. It’s from his authorship a Christ for the chapel located in the old cathedral of Puebla, as well as the important monument of the Holy Thursday.
His was registered by the New Hispanic art until 1958, when Heinrich Berlín disclosed him as the author of the sculptural work of the major altarpiece from the Franciscan church of Huejotzingo, Puebla. In 1580 he worked in the sculptural part of the major altarpiece from the concepcionists in Mexico City in society with other artists. Requena made the tracing, the carving of the images and ornamental motives of the altarpiece’s architecture. Pedro de la Requena is associated with numerous altarpieces and sculptoric figures with religous motives for various cathedrals and churches.
