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Title

The Visitation

Vázquez, Antonio [attributed to] (¿Ávila?, 1485 - ?, 1563)

Generic classification
Painting
Object
Painting
Date
ca. 1545
Century
Second quarter of the 16th c.
Cultural context / style
Renaissance
Dimensions
35 x 35 1/2 in
Material
Panel
Technique
Gilded, Tempera
Iconography / Theme
Visitación
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Columbia Museum of Art (Columbia, United States)
Object history

In 1985 Brasas Egido identified this panel thanks to a photograph in the photo library of the Amatller Institute (Barcelona). The painting has been attributed to Antonio Vázquez, a very prolific artist in Castile. He had done works for the convent of the Teresian Mothers of Dueñas (Palencia), for the church of El Salvador in Simancas (Valladolid) or for the parish church of Piña de Esgueva (Valladolid), among others (Brasas, 1985). Therefore, although we do not know the precise origin of the piece, it most likely comes from a church or convent in the current provinces of Palencia and Valladolid.

After being exported out of the country, the panel ended up in the collection of Samuel H. Kress. In the 1950s and 1960s the Samuel H. Kress Foundation began donating works from its collection to the cities that had supported its business (Glesne, 2012). Numerous museums in the United States benefited from these donations, such as the Columbia Museum of Art. This is how this panel by Antonio Vázquez ended up in Columbia, where it is preserved today.

Description

According to Brasas Egido (1985) this painting is related to the works that Antonio Vázquez executed around 1545, this being the date Brasas dates the work. The panel is similar to the one Antonio Vázquez painted for the altarpiece of the Huelgas de Valladolid. In the center of the composition, Mary and Saint Elizabeth are depicted about to embrace, following conventional iconographic patterns. As in other works by Vázquez, such as the San Sebastián in the Wellcome Collection, the landscape is formed by large rocky backgrounds and buildings. The clothes of the protagonists are wide and loose, contributing to intensify the monumentality of the figures. Also, some archaisms are present, such as the nimbus. The mark of Pedro Berruguete, Juan de Borgoña and the Master of Portillo can be appreciated.

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
Citation:

Isabel Escalera Fernández, "The Visitation" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/382

DOI
The Visitation

Spanish Art in the US.

Spanish Art in the US.

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