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José Montes de Oca

José Montes de Oca and Leon born in Seville in the late seventeenth century, at least that is what emerges from their marriage certificate which says a native of Seville, although some authors who relate to Cadiz. In this regard I would note that his three earliest known works was made for the Seville town of La Puebla de la Cazalla, perhaps further research can contribute something more about his birthplace. The date can not be assured, Cean Bermudez talks about 1668 and Hernández Díaz de 1775-80, siendo esta última fecha la que parece guardar más lógica con la actividad del maestro, aunque yo personalmente la retrasaría hasta aproximadamente 1785 basándome en la fecha de su matrimonio. Ya joven ingresa en el taller de Pedro Roldán , en el cual se le encuentra trabajando a finales del siglo XVII. Sin embargo, toda su obra se ve mucho más claramente influenciada en los maestros de principios del Barroco, como Martínez Montañés y Juan de Mesa, que en la obra del taller de los Roldán. Se casa el año 1707 con la gaditana Eugenia de Padilla y González , por lo que se supone que para esta fecha ya se había independizado artistically. It has no known children, but lived in addition to his wife, with her sister Josefa Marcela .

His artistic life takes place in Seville, Cadiz, except the period between 1729 and 1730-31, which is related to the mason Blas Diaz. Do not know him many disciples, except for Benito del Castillo Hita (1714-1784). Makes a will in 1745, he can see that their economic position was never well off despite the great quantity and quality of works. He died in January 1754.

His art was provided with a great religion, back to the early Baroque models as opposed to rococo spirit of the time. His work is especially clear elements of art Martinez Montanes (such as the shape of their heads, side locks, the execution of retail) and Juan de Mesa (evident in the drama of his Christs). His work offers a number of features that are easily detectable and make easy the identification of new works. Thus, there are features such as dual head tilt (lower left), her mouth half open exposing the teeth and tongue, chin dimple round with a very pronounced, the side locks the Christs, the union of the ring and middle fingers, the crown of thorns superimposed using all types of inserts which strongly suggest the style of the teacher.

Works:

· Virgin of Sorrows , Hermandad de los Dolores, La Puebla de Cazalla (Sevilla). Made in 1717, is the first known documented work.

· Group Santa Ana and the Virgin . Church of Our Lady of Virtues. La Puebla de Cazalla (Sevilla). Made in 1726, the firm is in the holy book.

· Cristo de las Aguas , Hermandad de los Dolores, La Puebla de Cazalla (Sevilla). This work I was to a church in the convent of Victoria, was burned at the events of 1936 and can be dated around 1726.

· Our Lady of Suffering . Church of Our Lady of Suffering. Aracena (Huelva). Work dated in 1727, unfortunately destroyed in a fire in 1795.

· Divina Pastora. Parroquia de la Divina Pastora . Malaga. Very basis attributable to his early work, in the period 1725-28 for his striking resemblance with the Servite Magdalena, the image is venerated in the parish of the District of Capuchins. The child Jesus is later work Alvarez Duarte (1972).

· Virgen de los Dolores. Servite Third Order. Cádiz. The original owner of this Brotherhood of Montes de Oca carved in 1729. Currently, the image is displayed in a niche in the street Sagasta.

· Arcángel San Miguel, Santiago and San Andrés . Parish of San Lorenzo. Following the good work exhibited in the conduct of the Virgen de los Dolores Servite was entrusted in 1729 the bill for these two saints as part of the altarpiece of the parish.

· relief of the Adoration of the Magi . Church of San Felipe Neri. Cádiz. Made around 1729-30.

· Altarpiece of the Annunciation. Church of San Felipe Neri. Cádiz. Like its predecessor, datable in the 1729-30 biennium.

· Ecce Homo. Brotherhood of Ecce Homo. Cádiz. This image is dated circa 1730, since at that time the sculptor was working in Cadiz.

· Nazarene. Brotherhood of the Nazarene. Alcalá de los Gazules (Cádiz). Work that shows many similarities with Jesus without rope Ecija and Ecce Homo Cadiz and was made around 1730. The image is placed in the Parish of San Francisco, popularly known as the Victoria.

· Lady of Suffering. Hermandad de las Aguas. Sevilla. Work done in 1730, it was assumed missing in an accidental fire in 1942 at the Church of San Jacinto. However it is not clear, since the renovation in 1990 the new painful Romero Murillo, restaurateur D. José Manuel Bonilla, found that height was more ancient than Romero Murillo had done was probably a makeover. The new image shows the characteristics Montes de Oca impressed on their painful and may therefore be either another painful Montes de Oca or the original is not really lost in that fire of 1942.

· Set of Mercy of Servite. Brotherhood of Servite. Sevilla. This work, considered by critics as the best sculpture of the eighteenth century Seville, was conducted in 1730. The image of the Virgen de los Dolores, inspired by Renaissance models (not in the set of Mercy who carved Juan de Mesa in Cordoba, as some authors), shows a combination of pain and beauty are difficult to overcome in polychrome statuary Andalusian . The Christ of Providence itself has obvious traits that related to the work of Juan de Mesa and above Montanes. The set up was completed recently with images of Mary Magdalene and John the Evangelist, which constituted the main altar of the chapel.

· Divina Pastora. Fold Brotherhood Eucharistic Divine Shepherd of Souls. Convent church of San Antonio de Padua. Sevilla. Made around 1732, attributed on the basis of Montes de Oca. The lamb is the work of Buiza in 1972. The theme of the Divina Pastora is classic late Baroque and Rococo period, appearing to her as pastor of souls.

· Jesus without rope (or tired Jesus), Brotherhood of Jesus without rope, Ecija (Sevilla). Comes from the former convent of San Gregorio, dated in 1733. The title comes from the pious legend why Jesus gave his girdle to a needy, which instantly became gold.

· San Jose . Parish of Our Lady of the Assumption. Bormujos (Sevilla). Located in the vestry, by their relationship with Jesus without rope Ecija, dating back between 1733 and 1735.

· Virgin Commander of the Merced. Chapel Museum. Sevilla. Image carved around 1735.

· Nazarene. Hermandad de Jesus Nazareno. Lora del Río (Sevilla). Montes de Oca charge to about 1739-40, disappeared in the events of 1933.

· Divina Pastora . Church of Santa María Magdalena. Dos Hermanas (Sevilla). Spotlight image, carved in 1743, the polychromy is due to Joseph nodel. Previously he was placed in the chapel of San Sebastian.

· St. Elias. Work done around 1745, is known for his will, being currently missing.

Powers:

· Our Lady of Sorrows . Parroquia de Santa Maria de las Nieves. Villanueva del Ariscal (Sevilla). Because of its great resemblance to the Servite painful, can be dated in the five years 1725-30.

· Christ of Humility and Patience . Brotherhood San Pedro. Carmona (Sevilla). Datable work in the first third of the eighteenth century, an enormous similarities to Jesus Christ without a rope and Providence. It is usually dated to the period 1740-45, although personally I would date a little earlier, around 1732-33.

· Virgen de los Dolores. Hermandad de San Pedro. Carmona (Sevilla). Datable work in the first third of the eighteenth century, also have strong similarities with the Virgin of Servite. It may date from the year 1732-33.

· Our Father Jesus of Health , Hermandad de los Gitanos, Sevilla. Disappeared in the fire at the Church of San Roman in 1936, it had to do to 1738.

· Virgin of Sorrows , Hermandad de los Gitanos, Sevilla. Disappeared in the fire at the Church of San Roman in 1936, as the Nazarene, had to make around 1738.

· San Fernando . Saviour's parish. Sevilla. Should run on 1740.

· Group Santa Ana and the Virgin . Church of the old hospital of San Juan de Dios. Morón de la Frontera (Sevilla). Can be dated around 1740.

· Santa Ana educating the Virgin . Saviour's parish. Sevilla. Made about the year 1740. It has similarities with other works by the artist as the Divine Shepherd of the Church of Santa María Magdalena.

· Virgen de la Estrella. Brotherhood of the Star. Sevilla. Personally I find similarities between this image and the Virgen de las Aguas. It would not be the first time that works out to be attributed to Montanes Montes de Oca.

· Virgen de la Ancilla . Hermandad de la Vera-Cruz. Mairena (Sevilla). Work of the first third of the eighteenth century, attributable to the teacher for similarities with other painful safe. Acquired in 1940 the convent of nuns Triana minimum.

· Our Lady of Soledad . Brotherhood of the Nazarene. Olivares (Seville). Attributed to Forestry Oca in the first third of the eighteenth century.

· Nuestro Padre Jesus Nazareno de la Misericordia. Brotherhood of Students. Sevilla. Dated in the first third of the eighteenth century, part of the mystery of the Disclaimers and Tears of San Pedro.

· Lord tied to the column. Chapel of the Holy Christ of the Expiration. Villanueva del Fresno (Badajoz). Attribution with some merit, datable in the first third of the eighteenth century.

· Mary Magdalene. Brotherhood of the Three Falls of San Isidoro. Sevilla. In this image we can find great style reminiscent of Montes de Oca printed their painful evident in the posture of the head and hands. The image procession until recently next to Our Lady of Loreto.

· Group Santa Ana educating the Virgin . Church of San Lorenzo. Sevilla. Datable in the second third of the eighteenth century, is attributed with some basis to Montes de Oca. It is found in the Baptismal Chapel.

· Santa Ana and the Virgin . Church of San Roque. Las Cabezas de San Juan (Sevilla). Montes de Oca attributable to the second third of the eighteenth century.

· San Jose. Brotherhood of Marketplace. Sevilla. In the chapel of Mercy is an image of San José, attributable to some basis to Montes de Oca their similarities with other works written.

Source: Sacred Art.