Virgin of Monguí

Virgin of Monguí

Late 1700s
Artist
unknown artist
Country
Colombia
painting
Oil paint and gold on canvas
Gift of the Stapleton Foundation of Latin American Colonial Art, made possible by the Renchard family
1990.341

Unknown artist, Virgin of Monguí, late 1700s. Oil paint and gold leaf on canvas; 25 × 22¼ in. Gift of the Stapleton Foundation of Latin American Colonial Art, made possible by the Renchard family, 1990.341.

This object is currently on view
Dimensions
height: 25 in, 63.5000 cm; width: 22.25 in, 56.5150 cm; frame height: 29 in, 73.6600 cm; frame width: 25.5 in, 64.7700 cm
Department
Mayer Center, Latin American Art
Collection
Latin American Art

The Virgin of Monguí is one of the most widely venerated images of the Virgin Mary in present-day Colombia. This painting is one of hundreds made to replicate the original miraculous image venerated in the Basilica and Convent of Our Lady of Monguí in the town of the same name in the district of Boyacá, Colombia. According to various traditions, either King Charles I of Spain or his son King Philip II sent to the New World a painting depicting the Holy Family at rest during the flight to Egypt in order to express gratitude to indigenous leaders for their loyalty to the Spanish Crown. The painting is said to have worked a variety of miracles for local devotees that, over time, helped to establish its reputation as a powerful conduit to the sacred. Between 1694 and 1760, the present church was built to house the image and still draws thousands of pilgrims to its shrine each year.

In addition to the image’s distinguishing features such as Saint Joseph's Andalusian-style hat and the crescent moon at the Virgin’s feet, paintings of the Virgin of Monguí often include applied gold, jewels, and other decorations that imitate the precious adornments found on the original image. In this painting, the two angels, Mary’s crown, and both her and Jesus’s clothing are adorned with gold leaf or paint. This painting still includes its original frame, a rare but fortunate occurrence. It is painted in the same rich red as the Virgin’s skirt and also adorned with gold sgraffito.

--Sabena Kull, 2017-18 Mayer Fellow for Spanish Colonial Art

Known Provenance
Provenance research is on-going at the Denver Art Museum. Please e-mail provenance@denverartmuseum.org, if you have questions, or if you have additional information to share with us.