COLLECTION NAME:
Santo Collection
Record
Creator display:
Laguna Santero (Colonial Spanish American santero, active 1790-1809)
Creator note:
Spanish artist from New Spain (Mexico), active late 18th century)Anonymous retablo painter named for one of his surviving works, a monumental retablo in the church of San José de Gracia located at the Pueblo of Laguna, New Mexico. He was probably from southern New Spain (current Mexico), migrating to New Mexico as a commissioned artist or a member of the Franciscan order. His works appear in several New Mexico missions starting in 1795 and disappear from records after the completion of the Laguna altar screen around 1809. There are similar works by other artists in this school.
Creator role:
artist
Creator note:
SCAS People's Choice Award, 2000
Creator role:
creator
Date display:
1790 circa
Title:
Nuestra Señora de los Dolores
Title:
Our Lady of Sorrows
Location name:
New Mexico
Materials display:
paint on wood panel
Material name:
paint
Material name:
panel (wood by form)
Source name:
Thomas J. Steele, S.J.: The Regis University Collection of New Mexico and Colorado Santos.
Subject term:
Mary, Blessed Virgin, Saint
Work type:
retablos (panel paintings)
Conservation note:
frame restored by Gustavo Victor Goler, 2009
Exhibition note:
Aurora, CO: Aurora History Museum, May-Aug. 2009
Acquisition note:
1999, gift of Judge Thomas J. Mescall
Accession number:
RU0827
Measurements display:
51 x 32.8 cm
Santo Subject:
Nuestra Señora de los Dolores (Our Lady of Sorrows)
Santo Subject Type:
Titles of Mary
Feast Day:
Friday before Palm Sunday and September 16
Patronage:
Patronage: Strength in suffering; compassion for others in sorrow; help with children, help in childbirth; for sinners. There is a definite penitential interest, as Chapter III (Santos and Saints) stated, since it is usually the Dolores bulto that engages in the Encuentro enactment as the Jesús Nazareno bulto moves in procession toward Calvary.
Note:
This is Mary enduring the sorrows predicted in Luke 2:35, especially that of the crucifixion of Jesus. The advocation arose about 1390, perhaps when the mourning figure of Mary was separated from a "Calvario" (crucifix with Mary and John) and made a distinct object of veneration; see Wroth, Images of Penance, Images of Mercy, p. 75. Mary standing with her hands folded, a sword or seven swords piercing her heart, wearing a red gown and a cowl; very infrequently she is crowned.
Rights text:
IN COPYRIGHT - EDUCATIONAL USE PERMITTED