The history of Spanish art continues to expand beyond our borders, thanks to work such as that of the Meadows Museum in Dallas (USA). The museum has announced the acquisition of two works by 17th-century women artists: a still life by Josefa de Ayala (c. 1630-1684) and a painted cell cross by María Josefa Sánchez (active between 1639 and 1652). Ayala was a fundamental figure in Iberian Baroque art who gained recognition and numerous commissions during her lifetime, and was one of the few independent and documented women artists of the period. Overall,The acquisitions reflect a vibrant artistic climate in the Iberian Peninsula that gave women a certain freedom of expression. Both were acquired with funds from the Meadows Foundation and will be on view in the Meadows galleries in the fall.
“We are pleased to add these important works to our collection,” said Amanda W. Dotseth, Linda P. and William A. Custard Director of the Meadows Museum. “The exquisite example of Ayala’s work It shows the artist’s masterful technique and her ability to infuse still life compositions both aesthetic beauty and deep symbolic meaning, while Sanchez’s poignant cell cross not only demonstrates his artistic skill, but also highlights its role in shaping religious expression and the spirituality of the period. We look forward to the educational and research opportunities that will arise from these acquisitions, and what we will discover about the lives of women artists in the 17th century.
Ayala, dynamic
Ayala was born in Seville before her family moved to Portugal, her father’s native country. Like many female artists of the period, she was born into a family of artists and was trained by her father, the painter Baltazar Gomes Figueira. She had close personal and stylistic ties to some of the most influential Sevillian artists, who most likely shaped her artistic development, such as Francisco de Herrera el Viejo, Francisco de Zurbarán and Bartolomé Esteban Murillo. Ayala never married or was ordained a nun, but at the age of 29 she obtained the status of “emancipated maiden”, which allowed her to live and work independently. Her career flourished in Portugal, where she obtained numerous ecclesiastical and private commissions, and during her lifetime she produced some 150 paintings, making her one of the most prolific artists of the period.
The recently acquired “Bodegón” is an example of Ayala’s skill in creating dynamic and intricate compositions. The painting features a series of fruits, vegetables and flowers arranged on a dark ledge, a common device among still life painters active in Iberia, such as Juan Sánchez Cotán and Juan van der Hamen. “It reveals a skillful combination of artistry and thematic depth,” Dotseth said. “His still lifes, in particular, reflect the clever yet playful use of trompe l’oeil to convey complex religious themes, as well as a skilful use of decorative elements to capture the eye and be pleasing to the eye.”
“Cell Cross”, c. 1640, by María Josefa Sánchez (1639-1652)Gonzalo Eguiguren Gallery
Sanchez, a mystery
Fewer details are known about Sánchez’s life. Active between 1639 and 1652, she specialized in the production of cell crosses, popular objects for private worship in Spain and Latin America. Although some have argued that she may have been a nun or a novice, the use of the word “doña” on her signed crosses suggests that she was possibly a noblewoman; despite the lack of documentation about her life, the existence of signed works indicates a certain level of recognition and prestige. It is possible that she was related to Clemente Sánchez, known for similar crosses from the 17th century, but while Clemente is mentioned in historical records, María Josefa’s name remains absent.
The acquired Sánchez work exhibits a style akin to that of Luis de Morales, whose art was widely disseminated through prints. The visual similarities between Sánchez’s “Cell Cross” and Morales’ “Pietà” from the Meadows collection are evident; both artists share a taste for elongated figures, a limited palette, and a heightened sense of spiritual devotion and contemplation. The composition is dominated by a crucified Christ, looking upward and wearing a crown of thorns. His elongated limbs and expressive features evoke the Mannerist style. Dotseth commented, “As a functional object and one of private devotion, the acquisition of a painted cell cross will foster research into its hitherto little-known painter and shed light on personal devotional practices in early modern Iberia.”
These two paintings – the oldest known in the collection – join the growing number of works by women artists in the collection, which includes Luisa Roldán (1652-1706), Francisca Efigenia Meléndez y Durazzo (1770-1825), María Blanchard (1881-1932), Helen Escobedo (1934-2010) and Cristina García Rodero (born 1949).
