Novohispanic School; late seventeenth century. “Virgin crowned with Saint Francis and Saint

Novo-Hispanic School; late 17th century.
"Virgin crowned with St. Francis and St. Jerome".
Oil on copper.
It presents restorations.
Measurements: 25 x 20 cm.
Placed in the inferior zone of the composition, the busts of San Francisco, and San jeronico, look at the Virgin, who holds between her hands a book, showing to the spectator her instruction as mother of Christ. Despite not being depicted full-length, as is usual in this type of work, the Virgin stands out for her monumental figure, her dimensions being much larger than those of the other figures in the scene. In the upper area above the Virgin, two small clouds at the sides of the scene support two angels who together hold a large pearly crown with the intention of putting it on the Virgin. The subject of the Coronation of the Virgin was one of the privileged iconographies of the Baroque period because it allowed the painter to display his skills in the breaking of glory and the ethereal representation of bodies. Here, the axis of compositional symmetry is presided over by the Holy Spirit, in line with the Crown and the figure of Mary,
It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins, but in the early 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to depict a new model of painting with its own identity.