Allegorical scene. Oil on canvas 72 x 52 in. The following is from askart.com: Juan Correa, together with Cristóbal de Villalpando and Miguel Cabrera, is considered one of the main figures of Mexican painting of the 18th century. For some specialists in colonial art, Correa was the most prolific artist of his time and his representations of the Virgin of Guadalupe were highly appreciated for their technical perfection and for their fidelity to the Marian icon venerated in Mexico. To all this must be added the fact that the painter managed to configure an iconographic model that would be widely disseminated, both in the Viceroyalty and in Spain, as evidenced by the abundant examples preserved in public and private collections. One important canvas of the Virgin of Guadalupe shows us the famous Marian icon according to its traditional iconography because, according to tradition, the image of the Virgin was miraculously printed on the blanket or tilma of the Indian Juan Diego, preserved today in the Basilica of Guadalupe from Mexico. His typology, with narrowed eyes, allows to include it within the group that art historians call colloquially dormilonas. In the corners, linked by a garland of flowers executed with great detail and delicacy, are the four ovals in which the three Marian apparitions to Juan Diego have been represented together with the miracle of roses on the hill of Tepeyac: in the first the Virgin asks her to go to the Bishop of Mexico, Fray Juan de Zumárraga, to tell her about the apparition and tell him to build a temple in that place; in the second the Indian communicates to the Virgin his failure before the bishop; In the third apparition, after the new refusal of the bishop to believe in the apparitions and ask the Indian for some true proof, the Virgin tells Juan Diego to collect some roses that miraculously flourished and to take them to the bishop; finally, in the fourth apparition Juan Diego appears before the clergyman to show him the roses and when the tilma is opened the flowers fall to the ground and an image of the Virgin is represented. The square cartouche that appears in the lower part of the canvas, in which the painter's signature appears, describes the view of the hill of Tpeyac, showing the appearance of the primitive hermitage.

As pictured, needs some restoration. Sold as is