Fray Diego de Ocaña (Ocaña, 1565 – Mexico, 1608) attr.
Virgin of Guadalupe of Extremadura
Bolivia, probably Chuquisaca (Sucre) or Potosí, first half of the 17th century
Oil on canvas laid down on panel, with painted application of simulated jewels and iridescent decoration over gold
Oil on canvas laid down on panel, with painted application of simulated jewels and iridescent decoration over gold
98 × 73 cm
This 17th-century painting of the Virgin of Guadalupe of Extremadura reflects the early Andean adaptation of this Spanish Marian image, likely produced in Bolivia (Chuquisaca or Potosí), influenced by the work of Fray Diego de Ocaña, a key figure in the introduction of the Guadalupe icon to the Americas. The Virgin and Child are depicted with mestizo features, and the artwork is distinguished by luxurious ornamentation—including simulated jewels, a rich iridescent gold technique, and Renaissance-inspired marine symbolism like the Manila Galleon and mythical creatures.
The piece’s meticulous craftsmanship and symbolic complexity, including the rare inverted triangle cross on the Christ Child, place it among the earliest and most elaborate versions of this iconic image in the Andes, reflecting a fusion of European and indigenous artistic traditions during the early Baroque period.