Virgin of the Immaculate Conception Victorious over the Serpent of Heresy

Skip to main content
Artwork is in the public domain. Image courtesy of the Ruth and Elmer Museum of Art at Hamilton…
Virgin of the Immaculate Conception Victorious over the Serpent of Heresy
Artwork is in the public domain. Image courtesy of the Ruth and Elmer Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham. For educational purposes only.
Datelate 17th-early 18th century
MediumOil on canvas
DimensionsOverall: 51 3/8 × 35 3/4 in. (130.5 × 90.8 cm) Frame: 58 1/4 × 42 1/2 × 2 7/8 in. (148 × 108 × 7.3 cm)
Credit LineGift of the Donald and Marilyn Keough Foundation
Object number2019.12
Not on view
DescriptionThe Virgin, dressed in blue, inhabits the Heavens with angels in cloud-like forms. She is crowned above by 13 stars and the Trinity, and flanked by attributes of her immaculacy in round rosary beads. She stands on a crescent moon, yet also crushes a coiled serpent as a victorious symbol of the Church over heresy. The symbols on either side come from the Marian Litany of Loreto. The Cuzco School was an artistic tradition that arose in and around the major Peruvian city following its conquest by the Spanish in 1534. The new Cuzqueño tradition was bolstered by the arrival of Italian Mannerist and Jesuit priest Bernardo Bitti (1548-1610) in 1583, who was sent to Cuzco by the Jesuit mission and the Viceroyalty of Peru. Members of the Cuzco School were restricted to painting only religious scenes and portraits using contemporary European techniques. Scholar Guy Brett notes that “all colonial painting began in a process of copying,” but that “after a period of sheer copying, some themes took off.” Furthermore, as time passed, Cuzqueño works took on an increasingly independent style influenced primarily by indigenous artists. Paintings by the Cuzco School can typically be characterized by their religious subject matter, a lack of perspective, and the use of distinctly warm tones (red, yellow, brown). The paintings also exhibit a stylistic looseness that cannot be found in their contemporary European counterparts. Sources: Brett, Guy. “Being Drawn to an Image.” Oxford Art Journal 14, no. 1 (1991): 3–9. http://www.jstor.org/stable/1360273. José de Mesa and Teresa Gisbert, Historia de la Pintura Cuzqueña (1982) (Most thorough discussion of the Cuzco school, in Spanish)
Collections

Additional Details

Artwork is in the public domain. Image courtesy of the Ruth and Elmer Museum of Art at Hamilton…
Unknown artist, Peruivian (Cuzco School)
Date: late 17th-early 18th century
Medium: Oil on canvas
Object number: S2019.1.2
Artwork is in the public domain. Image courtesy of the Ruth and Elmer Museum of Art at Hamilton…
Unknown artist, Peruivian (Cuzco School)
Date: mid 18th-late 18th century
Medium: Oil on canvas
Object number: S2019.1.1
Photograph by John Bentham.
Date: early 19th century
Medium: Gouache and gold over white ground on paper
Object number: 1986.26
Photograph by John Bentham.
Elizabeth Catlett
Date: 1992
Medium: Screenprint
Object number: 2017.1
Marsh with Two Herons
Clarence Joseph Tibado
Date: 1953
Medium: Pastel on paper
Object number: 1971.20
Photograph by John Bentham.
Date: mid-16th century
Medium: Double-sided watercolor, ink, and gold leaf on paper
Object number: 1986.29.1a-b
Photograph by John Bentham.
Lyonel Feininger
Date: 1944
Medium: Oil on canvas
Object number: 2001.9
© Angelika Rinnhofer. Image courtesy of Light Work, Syracuse, NY. For educational purposes only…
Angelika Rinnhofer
Date: 2005
Medium: Archival inkjet print
Object number: 2020.8.3
Figures in a Wooded Landscape
Daniel Huntington
Date: 1867
Medium: Oil on canvas
Object number: 2004.7
Photograph by John Bentham.
Jean-François Millet
Date: c. 1868
Medium: Graphite on paper
Object number: 2015.3.3
Photograph by John Bentham.
William C. Palmer
Date: 1938
Medium: Ink and graphite on paper
Object number: WCP.XXX.38
Photograph by John Bentham.
William C. Palmer
Date: 1953
Medium: Crayon and graphite on paper
Object number: WCP.XXX.32