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Herrán Matorras' Virgin of El Panecillo (1976) on El Panecillo is a large replica of the sculpture. The Virgin of Quito (Spanish, La Virgen de Quito) — also known as the Virgin of the Apocalypse, Winged Virgin of Quito, Dancing Madonna, and Legarda's Virgin — is a wooden sculpture by the Quiteño artist Bernardo de Legarda (ca. 1700-1773) which has become the most representative example ...
The Virgin of El Panecillo (in Spanish: Virgen del Panecillo), also known as the Virgin of Quito from the sculpture of the same name, is a monument in Quito, Ecuador. It is located on the top of the hill of El Panecillo, a loaf-shaped hill in the heart of the city and serves as a backdrop to the historic center of Quito.
The monument was inspired by the famous "Virgen de Quito" (Quito's Madonna) also known as "the dancer" sculpted by Bernardo de Legarda in 1734, which now decorates the main altar at the Church of St. Francis. This madonna represents a turning point of the Quito School of Art (one of the most renowned of the Americas) because it shows a virgin ...
The Quito School (Escuela Quiteña) is a Latin American colonial artistic tradition that constitutes essentially the whole of the professional artistic output developed in the territory of the Royal Audience of Quito – from Pasto and Popayán in the north to Piura and Cajamarca in the south – during the Spanish colonial period (1542–1824 ...
The decoration of the half dome of the La Iglesia de El Sagrario, Quito. The high altar reredos of the Basílica de Nuestra Señora de la Merced and the enclosure under the choir of La Iglesia de Santo Domingo in quito; Legarda created a series of Immaculate Conceptions ("Virgins of Quito") and Assumptions.
It is a wooden sculpture about 0.62 meters high in the Romanesque style, a typical trait of the Black Madonna. [ 2 ] In other parts of Andalusia, the devotion to Our Lady of Regla is present, such as a church dedicated to her in the city of Huécija [ 3 ] and in a brotherhood in the city of Seville as a patron of bakers. [ 4 ]
It was handed over by the Franciscans to the Brotherhood of the Veracruz de Naturales, made up of the most skilled indigenous sculptors and painters of the city of Quito, who immediately began its construction in 1581. At the end of the 17th century it was handed over to the Franciscan Third Order and the Brotherhood of la Virgen de los Dolores.
The art historian Costanza Di Capua pointed out the existence of very similar figures in other pieces of La Tolita to argue that this culture was the origin place of the golden sun. [ 5 ] Sun rays