Anonymous of the Cuzqueña school - Angel

The subject of this work is highly distinctive and harks back to a specific artistic field. The iconography is typical of the guardian angel, who, as we can see from the painting, is dressed in elegant and flamboyant late-17th-century clothing, including the typical voluminous hairdo. A distinctive feature of these works is that the angel is usually armed with a harquebus; in this unusual variation, however, he holds a staff in one hand and a bouquet of flowers in the other. These angels are typical of the so-called Andean Baroque, also known as the "mestizo style," the form of sacred art that developed among the peoples of Latin America after the Spanish conquest. Traditionally, angels, whether harquebusiers or not, represented falcons, the forms the deceased assumed after death and were considered protectors of their families.

Paintings depicting Guardian Angels are generally small in size, suitable for private use, reflecting their function as family guardian deities, as we have just defined. And it is precisely this traditional pagan function, as protectors of the home, that determines their distinctively iconic and hieratic appearance. This type of representation draws on the stylistic characteristics of the Andean Baroque, or "mestizo" style, whose main characteristic is the fusion of European Baroque aesthetics with a certain archaic character that was more suited to the art of the indigenous peoples of Latin America. Thus, in Guardian Angels, as in the painting under analysis, the pomposity typical of Baroque art is combined with a certain iconic fixity. All this contributes to the definition of a supernatural figure: on the one hand, the baroque exaggeration of the garments (the extremely complex embroidery, the very wide sleeves, the very wide brims of the hats, the length of the flowing hair) serves to define a demeanor so aristocratic and artificial that it cannot belong to an earthly dimension. On the other hand, however, there is, in the supernatural definition of the Angel, a fixity and rigidity that are typical of a spontaneous and archaic artistic practice, typical of South American art (which can still be seen in ex-voto paintings throughout Latin America). Furthermore, we must also add a certain residual component of Mannerist stylistic elements, discernible in the exaggerated affectation of the figure and its artificial elegance.

What we can say, from analyzing the work, is that the anonymous artist who created this Guardian Angel has a style perfectly in keeping with the characteristics of the so-called Andean Baroque. Specifically, in addition to the iconic character typical of the aforementioned style, he exhibits a certain formal rigidity that suggests a popular yet highly significant artistry in that artistic field.

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