Diego Quispe Tito Paintings & Artwork for Sale | Diego Quispe Tito Art Value Price Guide

Apr. 10, 2025
CIRCLE OF DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €5,000 - €8,000
Circle of Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'The Baptism of Christ' Oil on canvas. 80,5 x 64 cm. The dating and geographical location of this painting is based on a study of the materials used, the period, and the Cuzco style which was begun by Master Quispe Tito, such as the palette of colours, the Flemish influence in the landscape and the representation of local birds such as parrots and macaws that can be seen flying over the main scene. These elements used in the painting we have here, which dates from such an early stage of the Cuzco style, bring us closer to the master, so the painter of this canvas must have been someone very close to Quispe Tito. In later decades, the work and proliferation of the master's workshop reached levels never before seen in Cuzco painting. This early painting from the middle of the 17th century is inspired by one of Luis de Riaño's murals from the first third of the 17th century in the Church of AndahuayIillas and the artwork depicting the same iconography in the Church of Urcos by the indigenous muralist painter Diego Cusihuaman. Baptism is considered by the Christian Churches to be a fundamental moment in the life of the believer. The celebration of this sacrament is full of rites of rich spiritual and theological significance that show the high consideration that the communities of faith have had for baptism throughout the history of Christianity. Baptism along with the Eucharist are held by the Catholic Church to be the two most important sacraments, the only ones recognised by the Reformed Churches as having been instituted by Christ himself. In the Christian reading of the Old Testament, Baptism and the Eucharist are prefigured as an image or type, i.e. as a shadow of the new realities brought about by Christ. Together with the other five sacraments they form the canon of the seven sacraments, defined by the Church at the Council of Florence and ratified at the Council of Trent. Colonial painting. Latin american art.
La Suite Subastas
Apr. 10, 2025
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €20,000 - €30,000
Diego Quispe Tito (Cuzco, Perú, 1611 - 1681) 'Saint Joseph with the Child in its workshop' Oil on canvas. 71 x 63 cm. The painting we present is attributed to Diego Quispe Tito, a master of the 17th-century Cuzco School. In addition to its devotional purpose, this painting of Saint Joseph with the Child Jesus serves as an example of a rolled format painting. This unusual canvas, rich in iconography and symbolism, is presented rolled like a parchment, a format typically created for ease of transport, whether for outdoor masses or services in villages near the main parish, or to display a religious motif that would unify catechesis, homilies, or talks given by missionaries. From a technical perspective, this format required durable materials and painting techniques resistant to wear, as the paintings were repeatedly rolled and unrolled. With a background characteristic of Quispe Tito, and later of the entire Cuzco School, we see a landscape filled with birds, vegetation, and flowers, including native elements such as Andean birds (macaws and parrots) and typical trees of the Andean region. The painting portrays backgrounds with mists and radiant clearings; gardens in intermediate planes with well-defined plants and vegetation, and a bridge. There is an unreal architectural perspective to the right, a wall and a plinth are hinted at, on which the saint has his carpentry tools, as if he were a surgeon. There are also meticulously detailed elements. At the center, we contemplate the chaste Joseph holding the Child in his arms. To his left, as if representing an independent reality, we see Saint Lucy, as a donor, appearing timidly, with independent vanishing points and horizon lines, yet sharing the same pictorial surface without any clear division between them. We have three possible hypotheses: a) It is a religious painting, commissioned by a priest, featuring two primary devotions of the place where he ministers, one larger and more intense at the center, and another on the side; b) The commission was made by a man named José, who places his patron saint at the center, and near the end of the work, requests the artist to include Saint Lucy, who seems to stumble into the composition but integrates perfectly as she shares the same compositional plane; c) The painting was commissioned by a donor, placed to the left, named Lucía, or devoted to the saint, and she is depicted in an unreal plane next to the central saint she wishes to venerate. Whichever of these are true, this is a devotional painting, full of goodness and light, blessed from heaven by the Holy Spirit, which becomes a refreshing window of pure reality, a haven of peace, calm, and tenderness. In the painting, we can observe the mastery in the use of vibrant colors, the richness of meticulous details, and the depth of color, all hallmarks of Quispe Tito’s style. The reds in the garments of Saint Joseph and Saint Lucy, and the whites of the Child Jesus, contrast with the background landscape, which features softer and more natural tones. The textures of the clothing, the carpentry tools, and the natural elements of the landscape are rendered with precision, creating a harmonious composition that guides the viewer's gaze through the scene. With the inclusion of carpentry tools, local landscapes, and native fauna, Quispe Tito not only narrates the sacred story but also documents life in his homeland. It is a work that encapsulates a cultural mix, speaking both of faith and identity, achieving not only its religious and spiritual function but also becoming a reflection of daily life in colonial Andes, creating a visual language that captivated both the Indigenous and Spanish populations. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, he is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters.' Bibliographic reference: - Gisbert, Teresa. “Iconografía y mitos indígenas en el arte”. Editorial Gisbert, 1999. - Vargas Ugarte, Rubén. “Historia del Arte en el Perú”. Editorial Studium, 1969. - San Agustín. “Sermones sobre San José”, Biblioteca de Patrística, siglo IV. - Wuffarden, Luis Eduardo. (n.d.). 'Diego Quispe Tito'. https://dbe.rah.es/biografias/54757/diego-quispe-tito. Colonial painting. Latin american art.
La Suite Subastas
Feb. 20, 2025
ATTRIBUTED TO DIEGO QUISPE TITO (CUZCO, PERÚ, 1611 - 1681)
Est: €8,000 - €15,000
Attributed to Diego Quispe Tito (Cuzco, Perú, 1611 - 1681) 'The Visitation' Oil on canvas. Accompanied by an imposing carved and gilded wooden frame from the period. 56,5 x 41,5 cm. A superb composition of the narrative passage found in Luke 1:39-45, attributed to Tito Quispe, considered to be one of the most prominent members of the Cuzco school. The scene fills the entire canvas. In a misty background, a tree in a garden is faintly suggested along with the house of Zechariah and Elizabeth depicted with an unreal architectural perspective. With carefully crafted details in the foreground, our gaze focuses on the two couples from this biblical encounter: Zechariah and Elizabeth on the left, and Joseph and Mary on the right. The men play secondary roles, positioned humbly, somewhat distant, 'a step back,' in reverence for this meeting. The love between the two women—cousins—takes center place. The two figures meeting here are based on the engraving The Visitation by Jean Leclerc (1587-1633): their joining of hands expresses welcome, as does the hand resting on Mary’s womb as she exclaims, 'Blessed are you among women, and blessed is the fruit of your womb.' The brushstrokes of the artist showcase his virtuosity through his depiction of intricate gold filigree and flowers scattered across the garments, as well as the trimming, lace, and edging that adorn them, symbolizing the importance of the characters in this scene. Serene, humble faces reflect affection and closeness, joy and respect. A blend of mysticism and tenderness brings this biblical event closer to a 'simple family meeting,' making it more relatable to the viewer so that they, too, 'feel visited,' invited as another member of this heavenly family. In a period frame, filled with overflowing leaves and flowers, highlighted by magnificent carving and gilding, rounding off this work of unsurpassed and delicate technical mastery and showcasing the artist's extraordinary skill in this painting. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters.' Bibliographic reference: - Wuffarden, Luis Eduardo. (n.d.). 'Diego Quispe Tito'. https://dbe.rah.es/biografias/54757/diego-quispe-tito. Colonial art.
La Suite Subastas
Oct. 31, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €18,000 - €25,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'The Holy Family' Oil on canvas. 162,5 x 109 cm. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive horizontal layers, common among medieval painters' The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission. It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context. In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter. Bibliographic reference: - Wuffarden, Luis Eduardo. (n.d.). 'Diego Quispe Tito'. https://dbe.rah.es/biografias/54757/diego-quispe-tito. Spanish Americas. Oil.
La Suite Subastas
Oct. 31, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €10,000 - €30,000
Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'Saint Christopher' Oil on canvas. 167 x 98 cm. Provenance: this painting came from the chapel of a palace-house belonging to an Andalusian marquis, a Spanish noble family whose lineage dates back to the 12th century. It has the same provenance as lots 80 and 81 from the auction, 'Beauty and Devotion. Picasso between the Old and New World', which took place on 25th of April, 2024. In our opinion, it is clear that the work was painted by the master from Cuzco for several reasons. Mainly, the model used for the Child on the shoulder of Saint Christopher is the same as the one used for the Infant Jesus in ‘The Holy Family in the Nazareth Workshop’ (lot 81, auction 103). Likewise, the dark brown tones of the background and its tenebrism are the same in both paintings. Our painting requires careful attention, despite the oxidation of the varnish that darkens it, if we look closely, the details of a hand of great mastery begin to shine, the Baby Jesus is a delight, and the expressiveness of St. Joseph is enormous. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive horizontal layers, common among medieval painters' Bibliographic reference: - Wuffarden, Luis Eduardo. (n.d.). 'Diego Quispe Tito'. https://dbe.rah.es/biografias/54757/diego-quispe-tito. Spanish Americas. Oil.
La Suite Subastas
Oct. 31, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €30,000 - €45,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'The Annunciation' Oil on canvas. It has lacks of painting. 157 x 218,5 cm. Provenance: this lot is the couple of lot 81 from the auction, 'Beauty and Devotion. Picasso between the Old and New World', 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century. Specifically, our painting was placed next to its partner, 'The Holy Family in the workshop of Nazareth'. It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive horizontal layers, common among medieval painters The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission. It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context. In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter. Bibliographic reference: - Wuffarden, Luis Eduardo. (n.d.). 'Diego Quispe Tito'. https://dbe.rah.es/biografias/54757/diego-quispe-tito. Spanish Americas.
La Suite Subastas
Oct. 28, 2024
Attributed to DIEGO QUISPE TITO (Cuzco, Peru, 1611 - 1681) "Saint Anthony with Child. Oil on canvas. Presents faults in the frame with old moldings.
Est: €3,000 - €4,000
Attributed to DIEGO QUISPE TITO (Cuzco, Peru, 1611 - 1681) "Saint Anthony with Child. Oil on canvas. Presents faults in the frame with old moldings. Measurements: 57 x 44 cm; 70 x 55 cm (frame). In this canvas is represented Saint Anthony of Padua, dressed with Franciscan habit and with the branch of lily, with the Child Jesus in his arms that carries the orb in one of his hands, while with the other one he blesses the spectator. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He is represented as a beardless young man with a broad monastic tonsure, dressed in the brown habit of the Franciscans. One of his most frequent attributes is the book, which identifies him as a sacred writer. Another distinctive iconographic feature is the branch of lily, an element taken from his panegyrist Bernardino de Siena. St. Anthony is usually presented with the Child Jesus, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation. Diego Quispe Tito was a Peruvian painter of Andean origin. He is considered one of the most outstanding members of the Cuzco School. The documentary testimonies regarding his life are scarce, however, it can be said that he began his pictorial work around 1627, date of which dates his first canvas and probably belonged to the indigenous nobility. He established himself as an artist of great prestige in the city of Cusco from the 1660s, when he intensified his production for the temple of San Sebastian. It is from the virtuosity he demonstrates in the painting cycles he produces for this temple that he wins the favor of his most important patrons in Cuzco and Upper Peru, where he regularly sent paintings. In a painting he sent to Potosí in 1667 he signed "Quispi Tito inga inbentó del año D-1667, edad 56", a way of highlighting the creative and cultured aspect of his work. He was a follower of Gregorio Gamarra, who in turn was a disciple of father Bernardo Bitti. His painting had two stages. In the first, his painting was characterized by certain traces of Mannerism, while in the second, the influence of Flemish engravings can be seen in his painting. However, he is a painter who is somewhat outside the prevailing style in the city of Cuzco and who ends up developing and imposing a new style to the painting of the region. He implants the use of large landscapes full of flowers and animals that later become characteristic of Cuzco painting. It presents faults in the frame with old moldings.
Setdart Auction House
Jun. 27, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €7,500 - €12,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'Saint Anthony with the Child' Oil on canvas. 57,5 x 44,5 cm. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive horizontal layers, common among medieval painters. The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission. It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context. In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter. Colonial Spanish Americas.
La Suite Subastas
Jun. 26, 2024
Spectacular and Large Immaculate Virgin in Glory - Peruvian Viceregal School of Cuzco circle of Diego Quispe Tito (1611-1681) Spanish colonial work of the 17th century
Est: €14,000 - €18,000
Oil on canvas Good condition in pigments canvas measurements only: 150 x 100 cm Framed measurements: 160 x 110 cm Without significant chromatic loss or repainting it requires cleaning the old varnish Work very close to the universally praised Diego Quispe Tito (1611-1681) possibly the most influential artist of Cusco painting in the viceroyalty Reference bibliography: Luis Eduardo Wuffarden and Ricardo Kusunoki Pintura Cuzqueña Lima: MALI 2016 Origin: important private collection Spain
Templum Fine Art Auctions
Apr. 25, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €30,000 - €45,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'The Holy Family in the workshop of Nazareth.' Oil on canvas. 169 x 224 cm. Provenance: From the same collection of lot 80. A palace- house of an Andalusian marquisate, an spanish noble family whose lineage dates back to the 12th century. Como leemos en la Real Academia de la Historia Quispe Tito 'Miembro de una familia de la aristocracia incaica, es considerado entre los principales iniciadores de la escuela cuzqueña de pintura. Provenía, al parecer, del pueblo indígena de San Sebastián, que guarda una parte significativa de su producción. Ella se centra en las obras decorativas de la iglesia parroquial de esa localidad, para la cual trabajó intensamente entre 1634 y 1669. Durante esos años realizó cuatro grandes ciclos pictóricos: Vida de San Juan Bautista, La Pasión, Martirio de San Sebastián y los Doctores de la Iglesia. A través de estos conjuntos de lienzos se compendia la original madurez de Quispe Tito, caracterizada por una reinterpretación ingeniosa de las estampas europeas y por una pincelada precisa y ágil, de vivaz colorido. Pronto su fama llegaría a trascender los límites del Cuzco, y ya en 1667 ejecutaba por encargo de las iglesias de Potosí un Jesús entre los doctores del templo y Los desposorios de la Virgen, ambos actualmente en el Museo de la Casa de Moneda de esa ciudad. Dentro de la propia capital incaica, la obra más ambiciosa de Quispe Tito es el lienzo de Las postrimerías o el Juicio Final, realizado para la portería del Convento de San Francisco en 1675. El pintor andino abandona aquí las fórmulas dinámicas de representación del Juicio Final, vigentes hasta el alto Renacimiento y el primer barroco europeos, para recuperar el esquema ordenado, en forma de sucesivos estratos horizontales, usual entre los pintores del medioevo. En la Sagrada Familia regresando de Egipto (Museo Nacional de Historia), fechada en 1680, se constata el virtuosismo característico de sus últimas obras. El pintor se ha basado aquí en una difundida composición de Rubens, pero Quispe Tito reduce notablemente la proporción de las figuras respecto del fondo, para emplazar la escena de la historia sagrada dentro de un vasto paisaje idealizado y fantástico, que anuncia así la aparición de uno de los géneros favoritos de la pintura cuzqueña en el siglo siguiente. Contemporáneamente ejecutaba la conocida serie del zodíaco, colgada en los muros de las naves laterales de la Catedral del Cuzco. Hoy sólo existen nueve de los doce signos, sea por haberse destruido tres de ellos, o porque el artista muriese antes de completar el encargo. Se trata de un ciclo cristianizado, en el que cada uno de los emblemas zodiacales se identifica con sendas parábolas de Cristo o con historias evangélicas. En este caso Quispe sigue de un modo literal sus fuentes gráficas flamencas, desplegando al mismo tiempo un oficio pictórico de inspiración europea, cuyo alto nivel técnico resulta insuperable en el contexto cuzqueño. De este modo el artista, en la última etapa de su vida, parecía adaptar su trabajo a las preferencias estéticas de una clientela culta y urbana, lo que pudo atraer la atención del obispo Mollinedo y de su Cabildo catedralicio. Spanish Americas.
La Suite Subastas
Apr. 25, 2024
DIEGO QUISPE TITO (CUZCO, PERU, 1611 - 1681)
Est: €30,000 - €45,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'Adoration of the Kings'. Oil on canvas. 165 x 209 cm. Important and great painting, for its quality, dimensions and provenance. On the seat of the Virgin it seems that there are remains, but illegible, of a signature. Provenance: Chappel of a palace- house of an Andalusian marquisate, an spanish noble family whose lineage dates back to the 12th century. Como leemos en la Real Academia de la Historia Quispe Tito 'Miembro de una familia de la aristocracia incaica, es considerado entre los principales iniciadores de la escuela cuzqueña de pintura. Provenía, al parecer, del pueblo indígena de San Sebastián, que guarda una parte significativa de su producción. Ella se centra en las obras decorativas de la iglesia parroquial de esa localidad, para la cual trabajó intensamente entre 1634 y 1669. Durante esos años realizó cuatro grandes ciclos pictóricos: Vida de San Juan Bautista, La Pasión, Martirio de San Sebastián y los Doctores de la Iglesia. A través de estos conjuntos de lienzos se compendia la original madurez de Quispe Tito, caracterizada por una reinterpretación ingeniosa de las estampas europeas y por una pincelada precisa y ágil, de vivaz colorido. Pronto su fama llegaría a trascender los límites del Cuzco, y ya en 1667 ejecutaba por encargo de las iglesias de Potosí un Jesús entre los doctores del templo y Los desposorios de la Virgen, ambos actualmente en el Museo de la Casa de Moneda de esa ciudad. Dentro de la propia capital incaica, la obra más ambiciosa de Quispe Tito es el lienzo de Las postrimerías o el Juicio Final, realizado para la portería del Convento de San Francisco en 1675. El pintor andino abandona aquí las fórmulas dinámicas de representación del Juicio Final, vigentes hasta el alto Renacimiento y el primer barroco europeos, para recuperar el esquema ordenado, en forma de sucesivos estratos horizontales, usual entre los pintores del medioevo. En la Sagrada Familia regresando de Egipto (Museo Nacional de Historia), fechada en 1680, se constata el virtuosismo característico de sus últimas obras. El pintor se ha basado aquí en una difundida composición de Rubens, pero Quispe Tito reduce notablemente la proporción de las figuras respecto del fondo, para emplazar la escena de la historia sagrada dentro de un vasto paisaje idealizado y fantástico, que anuncia así la aparición de uno de los géneros favoritos de la pintura cuzqueña en el siglo siguiente. Contemporáneamente ejecutaba la conocida serie del zodíaco, colgada en los muros de las naves laterales de la Catedral del Cuzco. Hoy sólo existen nueve de los doce signos, sea por haberse destruido tres de ellos, o porque el artista muriese antes de completar el encargo. Se trata de un ciclo cristianizado, en el que cada uno de los emblemas zodiacales se identifica con sendas parábolas de Cristo o con historias evangélicas. En este caso Quispe sigue de un modo literal sus fuentes gráficas flamencas, desplegando al mismo tiempo un oficio pictórico de inspiración europea, cuyo alto nivel técnico resulta insuperable en el contexto cuzqueño. De este modo el artista, en la última etapa de su vida, parecía adaptar su trabajo a las preferencias estéticas de una clientela culta y urbana, lo que pudo atraer la atención del obispo Mollinedo y de su Cabildo catedralicio. Spanish Americas.
La Suite Subastas
Mar. 21, 2024
Exceptional and Monumental colonial canvas depicting the Death of Joseph, by Diego Quispe Tito (1611-1681), Quiteño or Peruvian Master of the 17th century
Est: €4,000 - €6,000
Good condition, canvas only measurements: 160 x 110 cm. Framed measurements: 170 x 120 cm. Without significant chromatic loss or repainting, it requires cleaning the old varnish. Work very close to the universally praised Diego Quispe Tito (1611-1681), possibly the most influential artist of Cusco painting in the viceroyalty. In this beautiful scene, the patriarch Joseph, in his final death throes, directs his paternal gaze towards the Messiah, with the Virgin Mary at the foot of his bed. In the back plane the Archangel Saint Michael and the Angel of the Annunciation. Crowning this beautiful composition, God the Father, giving his blessing on the Holy Spirit. Bibliography: Luis Eduardo Wuffarden and Ricardo Kusunoki, Pintura Cuzqueña, Lima: MALI, 2016. Origin: Barcelona private collection.
Templum Fine Art Auctions
Dec. 20, 2023
Important Virgin of el Guápulo with Donors with a colonial period frame, Diego Quispe Tito (San Sebastián del Cuzco, 1611 - San Sebastián del Cuzco, 1681), Viceregal school of Cuzco from the 17th century
Est: €7,000 - €8,000
Oil on canvas, with an important frame from the same period in tropical wood gilded with gold leaf: 43 x 33, framed measurements: 63 x 53 cm. With meticulous details and vivid colors, it is a work attributed to the Cuzco school of painting, closely linked to similar works by the great Andean painter Diego Quispe Tito (San Sebastián del Cuzco, 1611 - San Sebastián del Cuzco, 1681). Bibliography: "Luis Eduardo Wuffarden and Ricardo Kusunoki, Pintura Cuzqueña, Lima: MALI, 2016."; "Bargellini, Carla. «Colonial Painting in Latin America». In Rishel / Stratton-Pruitt, ed. Revelations. The Arts in Latin America, 1492-1820 (Mexico City: Fondo de Cultura Económica)". Provenance: property of a retired former French diplomat active in Latin America in the 70s, acquired on the art market during the 70s-80s. Lot without reserve.
Templum Fine Art Auctions
Jul. 14, 2021
Cuzco School, late seventeenth century.DIEGO QUISPE TITO (Peru, 1611 - 1681), attributed. "Virgin with angels." Oil on canvas.
Est: €20,000 - €25,000
Cuzco School, late seventeenth century.DIEGO QUISPE TITO (Peru, 1611 - 1681), attributed. "Virgin with angels." Oil on canvas. Size: 168 x 109 cm. The excellent quality of this painting, especially in the emulation of the brocade and the trimming of the Virgin's mantle, as well as in the cascading fall of the silky hair of amber reflections, the hand of Diego Quispe Tito, one of the most outstanding masters of the Peruvian school of the XVII century, can be appreciated. The sumptuousness of tunics and mantles, in Quispe's Marian representations, is expressed, for example, in the Virgin of Carmen preserved in the Brooklyn Museum, a work that we can relate to the one we are dealing with. In this case, the Virgin appears surrounded by cherubim and seraphim emerging from the golden sky, among cottony clouds. They carry offerings in the form of flowers and monstrances. Following the Spanish baroque model in the representation of the Immaculate Conception, the Virgin rests on a crescent moon. But, in spite of presenting echoes of the Murillo language, the painting in question is developed in a typically autochthonous language, cuzqueño, which Diego Quispe contributed to define. Diego Quispe Tito was a Peruvian painter of Andean origin. He is considered one of the most outstanding members of the Cuzco School. The documentary testimonies regarding his life are scarce, however, it can be said that he began his pictorial work around 1627, date of which dates his first canvas and probably belonged to the indigenous nobility. He established himself as an artist of great prestige in the city of Cusco from the 1660s, when he intensified his production for the temple of San Sebastian. It is from the virtuosity he demonstrates in the painting cycles he produces for this temple that he wins the favor of his most important patrons in Cuzco and Upper Peru, where he regularly sent paintings. In a painting he sent to Potosí in 1667 he signed ""Quispi Tito inga inbentó del año D-1667, edad 56"", a way of highlighting the creative and cultured aspect of his work. He was a follower of Gregorio Gamarra, who in turn was a disciple of father Bernardo Bitti. His painting had two stages. In the first, his painting was characterized by certain traces of Mannerism, while in the second, the influence of Flemish engravings can be seen in his painting. However, he is a painter who is somewhat outside the prevailing style in the city of Cuzco and who ends up developing and imposing a new style to the painting of the region. He implants the use of large landscapes full of flowers and animals that later become characteristic of Cuzco painting."
Setdart Auction House
Jun. 08, 2021
Colonial School. Peru. 18th century. Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)
Est: €35,000 - €38,000
Colonial School. Peru. 18th century. Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) "Immaculate conception" Oil on canvas. 169,5 x 109,5 cm. There are some patches on the back. Some of the Marian invocations which appear in the Litany, the Psalms and in poetic texts of praise are depicted at each side of the Virgin Mary. In this case they are: the rose the spotless mirror, the sealed fountain, the lily and the well.
La Suite Subastas
Jun. 08, 2021
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)
Est: €15,000 - €17,000
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) "Holy Family and Saint Catherine" Oil on canvas. Signed. 64 x 50,5 cm.
La Suite Subastas
Nov. 05, 2020
18th century Colonial School. Peru. Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 - Peru, 1681)
Est: €15,000 - €18,000
18th century Colonial School. Colonial. Peru. Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 - Peru, 1681) “Saint Joseph with the Christ Child” Oil on canvas. The painting is in an imposing period wooden cornucopia frame covered in engraved embossed silver. The frame itself is a magnificent example of viceroy silversmithing. The upper part is topped with a large crest with a crown in the centre. There are two archangels with their shields on each side, who are flanked in their turn by two large horns of plenty full of fruit on which an angel rests. The entire surface is profusely decorated with birds, horns of plenty with fruit and rockery elements. Canvas measurements: 58 x 52 cm. Frame measurements: 167 x 107 cm.
La Suite Subastas
Sep. 26, 2019
TALLER DE DIEGO QUISPE TITO. "Sagrada Familia con San Juanito". Óleo sobre lienzo. Pertecene a la es
Est: -
TALLER DE DIEGO QUISPE TITO. "Sagrada Familia con San Juanito". Óleo sobre lienzo. Pertecene a la escuela cuzqueña del siglo XVII. Diego Quispe Tito (1611-1681) es uno de los artistas más importantes del virreinato de Perú. Trabajó en San Sebastián, cerca de Cuzco. Aunque sus trabajos reflejan la influencia de los grabados de la imprenta Platin (Amberes) también muestran la propensión característica a pintar la fauna y la flora local. Muy pocas obras de Diego Quispe están firmadas. El cuadro muestra el episodio narrado en el Evangelio Apócrifo de Santiago del encuentro entre Cristo y su primo San Juan al regresar de la huída a Egipto. El papagayo pintado en esta obra es una "firma" característica del taller. LLeva en las patas unas cerezas, símbolo tradicional de la fruta del Paraíso. Bajo el papagayo se pueden ver quillas rojas (nukchus), flores sagradas de la reina Inca (coya) metáfora de la Virgen María (Regina Coeli). Procedencia: - Bill Morgenstern, Miami. - Christie's New York. Important Latin American Paintings, Drawings & Sculpture. 24 de noviembre de 1992. Bibliografía: - DE MESA J. y GISBERT T.: Historia de la Pintura Cuzqueña I. Lima, 1982, páginas 142-160. Exposiciones: - Washington D.C. The Organization of American States, The Art Museum of the Americas, 1991. - Miami, The Historical Museum of Southern Florida, Temples of Gold, Crowns of Silver, enero-marzo 1992, Nº 15. - Washington D.C. The 1992 Washington Antiques Show, Spain in the New World-Quincentenary, 1992 (ilustrado en el catálogo). 122,6 x 164,2 cm
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