Angelino Medoro

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Holy Family with Saint John the Baptist and a Dominican Saint (1622), Museum of Fine Arts of Seville
Holy Family with Saint John the Baptist and a Dominican Saint (1622), by Angelino Medoro, Museum of Fine Arts of Seville

Angelino Medoro (1567–1631) was an Italian painter during the 17th-century, active in Latin America. His work in the Viceroyalty of Peru was greatly influential on the Cuzco School art movement.[1][2]

Biography

Medoro was thought to have studied art in Rome, followed by travelled to Seville, and to New Kingdom of Granada (present-day Colombia).[3] His only surviving European artwork was the painting "Flagellation of Christ" (1586) in Seville.[3]

Medoro, alongside Bernardo Bitti, and Matteo da Lecce (or Matteo Pérez de Alesio in Spanish) were the three founders of Peruvian colonial painting.[4] His earliest work in the Americas was Virgen de la Antigua (1587–1588) in the Santo Domingo church in Bogotá. In 1617, he painted a portrait of Saint Rosa of Lima at Santuario Santa Rosa de Lima (also known as Church of Santa Rosa in Lima).[5]

His students included Pedro de Loayza (or Pedro Loayza), Luis de Riaño, and Juan de Mesa.[3][6]

Medoro returned to Spain after 1620, and died in Seville in 1631.

See also

References

  1. ^ "Medoro, Angelino". Proyecto Estudios Indianos. Universidad del Pacífico, Universidad de Navarra. 2022. Retrieved 2022-08-25.
  2. ^ Mesa, José de; Gisbert, Teresa (1982). Historia de la pintura cuzqueña (in Spanish). Fundación A.N. Wiese. pp. 78–79.
  3. ^ a b c Jones, Pamela M.; Worcester, Thomas (2021-10-01). From Rome to Eternity: Catholicism and the Arts in Italy, ca. 1550-1650. BRILL. p. 243. ISBN 978-90-04-47368-3.
  4. ^ Visual Culture and Indigenous Agency in the Early Americas. BRILL. 2021-10-11. p. 167. ISBN 978-90-04-46810-8.
  5. ^ "PERÙ in "Enciclopedia Italiana"". Treccani.it (in Italian). Retrieved 2022-08-25.
  6. ^ Mo, Charles L. (1992). Splendors of the New World: Spanish Colonial Masterworks from the Viceroyalty of Peru. Mint Museum of Art. p. 32.