The Education of the Virgin (La educación de la Virgen)

* Nearly 20,000 images of artworks the museum believes to be in the public domain are available to download on this site. Other images may be protected by copyright and other intellectual property rights. By using any of these images you agree to LACMA's Terms of Use.

The Education of the Virgin (La educación de la Virgen)

Mexico, circa 1698
Paintings
Oil on canvas on wood, inlaid with mother-of-pearl (enconchado)
Unframed: 33 1/8 × 49 3/4 in. (84.1 × 126.4 cm); framed: 38 1/4 × 55 1/4 × 3/4 in. (97.16 × 140.34 × 1.91 cm)
Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund (M.2012.52)
Not currently on public view

Provenance

Private collection, Florence; Marchese Francesco Reale, Rome, c. 1940–50; by inheritance to his son, Rome; Christie’s, New York, May 22–23, 2012, lot 36; LACMA, 2012.

Label

Among the most dazzling paintings invented in New Spain were those inlaid with mother-of-pearl, known as enconchados.

...

Among the most dazzling paintings invented in New Spain were those inlaid with mother-of-pearl, known as enconchados. Conceived in the traditional manner of Western painting, the works include shell fragments that reference a range of Asian decorative arts, which flowed in through various trade networks. Pearls had also been associated with the legendary riches of the Americas since the conquest. Their materiality connoted imperial power, ostentation, and wealth. The genre reached its apogee from roughly 1680 to 1700, and Miguel González was among its most salient practitioners. Aside from individual devotional pictures, many enconchados were created as multipanel series portraying the lives of the Virgin, Christ, and various saints—the iridescent nacre helping to suffuse the works with a sense of the divine. With their mixed technique, the opalescent enconchados stood at the juncture of imperial vision, global trade, religious fervor, and colonial invention.

González’s Education of the Virgin was probably part of a larger set devoted to the Life of the Virgin. The subject had no scriptural basis but was described in medieval apocryphal texts and became popularized in German, English, and French books of hours. Visual precedents for the composition are rare, and González seems to have been as much attuned to Flemish prints of the Virgin sewing in the temple as to the recent upsurge in Spain of images of Saint Anne as Mary’s teacher.


From exhibition Archive of the World, 2022 (for more information see the catalogue entry by Ilona Katzew in the accompanying publication, cat. no. 65, pp. 264–74)
More...

Bibliography

  • Katzew, Ilona, ed. Archive of the World: Art and Imagination in Spanish America, 1500–1800: Highlights from LACMA’s Collection. Exh. Cat. Los Angeles: Los Angeles County Museum of Art; New York: DelMonico Books/D.A.P., 2022.

Exhibition history

  • Archive of the World: Art and Imagination in Spanish America, 1500–1800*** Los Angeles, CA, Los Angeles County Museum of Art, June 12, 2022 - October 30, 2022
  • Archive of the World: Art and Imagination in Spanish America, 1500–1800*** Nashville, TN, Frist Art Museum, October 20, 2023 - January 28, 2024