ALONSO VÃZQUEZ (Ronda, 1564-Mexico, 1608), attributed."Saint John the Baptist.Oil on copper.Size: 15 x 13 cm; 24 x 21 cm (frame).Saint John the Baptist has been represented next to a symbolic representation of the Agnus Dei. Saint John points with a finger to the lamb, whose small body rests on the Gospels. The bearded face of the saint expresses a premonitory pain, aware of the redemptive act synthesized in the animal body that he observes with a look tarnished by tenderness. It is a personal interpretation of a recurring iconography of the time. It was common to represent the Baptist in a landscape setting, carrying the cruciferous labarum with phylactery and accompanied by a lamb as a symbol of Christ. But in this painting, of a devotional nature, the saint is outlined against a neutral background from which radiates a halo of silver lights. Stylistically, the mannerist language of Alonso Vázquez can be appreciated, as well as the trail of his vigorous canons and his emphasis on gestures.Alonso Vázquez was a Spanish painter of the late Renaissance. He was active in Seville from at least 1590, moving to Mexico in 1603 accompanying the III Marquis of Montesclaros, where he practiced until his death in 1608. His style can be framed within the mannerist current. Among his main surviving works is the Sacred Supper, from 1588, from the refectory of the Cartuja de Santa María de las Cuevas, which is currently in the Museum of Fine Arts in Seville, a work previously attributed to the Cordovan painter Pablo de Céspedes and which is apparently inspired by a Flemish engraving. The composition is based on different engravings, coexisting the naturalistic elements of the tableware and food. The latter with mannerist features such as artificial colors, the marked anatomies of the characters or their emphatic gesticulations. Also his are the canvases of the four evangelists and the four fathers of the church that is in the main altarpiece of the church of the Hospital de las Cinco Llagas, today Parliament of Andalusia, as well as the Virgen del Pozo Santo of the Cathedral of Seville and the Virgen de la Antigua of the Church of San Francisco de Lebrija. So far there is no documentary evidence of the works made in Mexico.