Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 29 del v našem katalogu avtorja Miguel Cabrera
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Za oči galerije je najbolj znano sliko umetnika Miguel Cabrera delo Saint Gertrude (1763), katere original visi v muzeju Dallas Museum of Art, Dallas. Don Juan Xavier Joachín Gutiérrez Altamirano Velasco (1752) in From Spaniard and Morisca, Albino Girl (1763) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 29 del avtorja Miguel Cabrera v našem katalogu galerija spodaj predstavlja 29 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
The darkness of the background presses inward, a heavy, atmospheric void that forces the eye toward the center of the canvas. Within this gloom, Saint Gertrude emerges, her form defined by a soft, luminous glow. She wears a black and white habit, the heavy folds of her clothing catching a dim, unseen light. Her head is bowed in a quiet, inward gesture of prayer. At her chest, a miraculous presence…
The gaze of Don Juan Xavier Joachín Gutiérrez Altamirano Velasco, Count of Santiago de Calimaya, meets the viewer through this commanding portrait. Painted by Miguel Cabrera about 1752, the work captures a man of significant social standing and political weight. As a Creole, or American-born Spaniard, the subject occupies a unique position within the colonial hierarchy. His presence carries the gravity of his lifetime appointment as the governor of the…
In this 1763 oil on canvas, three figures are arranged in a tight triangular composition against a dark, muted background. On the left, a man is depicted in a leather military uniform, shown in profile while smoking. Beside him, a woman wears a white blouse, an elaborate rebozo shawl with metallic threads and lace cuffs, and a skirt featuring a floral chintz pattern. Between them, a young child is presented…
In this oval-shaped oil painting, we find ourselves witnessing a moment of profound stillness. The scene depicts the marriage of Mary and Joseph, a ritual overseen by a high priest, all occurring under the watchful, luminous presence of the Holy Spirit. A burst of light descends from above, manifesting as a dove, which casts a celestial glow upon the central figures. This light finds its focus on the joining of…
The Virgin of Guadalupe emerges from the canvas in this oil on canvas painting by Miguel Cabrera. Created about 1750, the work presents a serene figure enveloped in a celestial glow. She stands with hands clasped in prayer, her presence defined by a radiating golden mandorla that seems to pulse with light. A teal-blue mantle, decorated with gold stars, drapes over a pinkish-red gown, while the surrounding space holds small…
The air feels heavy with the weight of a quiet exodus. Under a sky of swirling, atmospheric clouds, the Holy Family moves through a landscape of rolling hills. Mary sits atop a donkey, her form a steady pyramid of grace amidst the movement. She cradles the Christ Child, whose presence seems to pull the light from the very air around him. Beside them, Joseph leads the animal, his silhouette a…
The warmth of a father's embrace is captured within the small, reflective surface of an oil on copper panel. Saint Joseph cradles the Christ Child against a dark, indeterminate void, pulling the viewer into a private moment of tenderness. The light falls softly upon the infant's translucent garment, catching the fine, lace-like details of the fabric. A cluster of white lilies rests to the side, their organic forms offering a…
Portrait of Sor Juana Inés de la Cruz by Miguel Cabrera, executed about 1750, presents the subject as a Catholic nun and sister of the Hieronymite order in New Spain. The work was commissioned by Sor Juana Inés de la Cruz herself, acting as its patron.
The canvas presents Don Manuel Jose Rubio y Salinas, Archbishop of Mexico. Painted by Miguel Cabrera in 1754, the work captures a man of significant ecclesiastical weight. The subject occupies the space with a quiet, heavy presence, framed by the symbols of his high office. He remains a central figure in the history of the viceroyalty, rendered here with the precision of a man who understood the gravity of his…
Casta Painting, 2. Of Spaniard and Mestiza, Castiza1763 · Museum of the Americas
12
Doña María de la Luz Padilla y (Gómez de) Cervantes1760 · Brooklyn Museum
13
The Holy Trinity1758 · Tucson Museum of Art
14
The Virgin of the Apocalypse1760 · Museo Nacional de Arte
15
Casta Painting, 4. From male Spaniard and Black female, Mulata1763
16
Casta Painting, 9. From male Black and female Amerindian, china cambuja (Zamba)1763 · Museum of the Americas
17
Casta Painting, 1. From male Spaniard and female Amerindian, Mestiza1763
18
De Español y Torna atrás; tente en el ayre1763 · Museum of the Americas
19
The Divine Shepherdess (La divina pastora)Los Angeles County Museum of Art
20
Virgen of Guadalupe (Our Lady of Guadalupe)National Museum of Mexican Art
21
Saint Ignatius LoyolaMuseo Nacional de Arte
22
Altarpiece of the Virgin of Guadalupe with Saint John the Baptist, Fray Juan de Zumárraga and Juan DiegoMuseo Nacional de Arte
23
The Divine ShepherdessMuseo Nacional de Arte
24
The Conversion of Saint Ignatius LoyolaMuseo Nacional de Arte
25
Allegory of the Virgin Patroness of the DominicansMuseo Nacional de Arte
26
Santa Rita de CasiaMuseo Nacional de Arte
27
Saint Francis XavierMuseo Nacional de Arte
28
The Holy Family during the Journey into EgyptPatrick and Beatrice Haggerty Museum of Art
29
The pontifical proclamation of the patronage of the Virgin of Guadalupe1756
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Miguel Cabrera | Slike iz tega seznama |
|---|---|---|---|
 Museo Nacional de Arte |
Mexico City | 8 | The Virgin of the Apocalypse, Saint Ignatius Loyola, Altarpiece of the Virgin of Guadalupe with Saint John the Baptist, Fray Juan de Zumárraga and Juan Diego |
 Museum of the Americas |
Madrid | 4 | 10. Of Chinese Cambujo and Indian, She-wolf., Casta Painting, 2. Of Spaniard and Mestiza, Castiza, Casta Painting, 9. From male Black and female Amerindian, china cambuja (Zamba) |
 Brooklyn Museum |
Brooklyn | 2 | Don Juan Xavier Joachín Gutiérrez Altamirano Velasco, Doña María de la Luz Padilla y (Gómez de) Cervantes |
 Los Angeles County Museum of Art |
Los Angeles | 2 | From Spaniard and Morisca, Albino Girl, The Divine Shepherdess (La divina pastora) |
 Dallas Museum of Art |
Dallas | 1 | Saint Gertrude |
 Muzej fine arts |
Boston | 1 | Don Manuel Jose Rubio y Salinas, Archbishop of Mexico |
 Tucson Museum of Art |
Tucson | 1 | The Holy Trinity |
 National Museum of Mexican Art |
Chicago | 1 | Virgen of Guadalupe (Our Lady of Guadalupe) |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
In this oval-shaped oil painting, we find ourselves witnessing a moment of profound stillness. The scene depicts the marriage of Mary and Joseph, a ritual overseen by a high priest, all occurring under the watchful, luminous presence of the Holy Spirit. A burst of light descends from above, manifesting as a dove, which casts a celestial glow upon the central figures. This light finds its focus on the joining of…
The gaze of Don Juan Xavier Joachín Gutiérrez Altamirano Velasco, Count of Santiago de Calimaya, meets the viewer through this commanding portrait. Painted by Miguel Cabrera about 1752, the work captures a man of significant social standing and political weight. As a Creole, or American-born Spaniard, the subject occupies a unique position within the colonial hierarchy. His presence carries the gravity of his lifetime appointment as the governor of the…
The darkness of the background presses inward, a heavy, atmospheric void that forces the eye toward the center of the canvas. Within this gloom, Saint Gertrude emerges, her form defined by a soft, luminous glow. She wears a black and white habit, the heavy folds of her clothing catching a dim, unseen light. Her head is bowed in a quiet, inward gesture of prayer. At her chest, a miraculous presence…
Saint Gertrude (1763), Dallas Museum of Art, Dallas. Zatem sledeta Don Juan Xavier Joachín Gutiérrez Altamirano Velasco (1752) in From Spaniard and Morisca, Albino Girl (1763).
68 let: delo Saint Gertrude iz leta 1763, Miguel Cabrera pa je bil/a rojen/a leta 1695.
Saint Gertrude, Don Juan Xavier Joachín Gutiérrez Altamirano Velasco, From Spaniard and Morisca, Albino Girl, The Marriage of the Virgin, Virgin of Guadalupe, The Flight into Egypt, Saint Joseph and the Child Jesus, Portrait of Sor Juana Inés de la Cruz, Don Manuel Jose Rubio y Salinas, Archbishop of Mexico in 10. Of Chinese Cambujo and Indian, She-wolf.. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 29 del avtorja Miguel Cabrera, datiranih od 1737 do 1763.
Večini v Museo Nacional de Arte (Mexico City), Museum of the Americas (Madrid) in Brooklyn Museum (Brooklyn). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1760s: 10 od 29 del na tej strani je bilo izdelovanih takrat, med njimi pa Saint Gertrude.
Na tej strani je najstarejše delo iz The Marriage of the Virgin (1737) in najstarejše iz Saint Gertrude (1763).
Woman (12), Man (10) in Child (9), na 29 delih na tej strani.
Oil On Canvas, za 12 od 29 del na tej strani.
Baroque, glede na originala na tej strani.
The Virgin of the Apocalypse, Saint Ignatius Loyola in Altarpiece of the Virgin of Guadalupe with Saint John the Baptist, Fray Juan de Zumárraga and Juan Diego: v muzeju Museo Nacional de Arte, Mexico City se nahaja 8 del z te strani.
Miguel Cabrera lived during a period when the Mexican Baroque shaped the visual identity of a colonial society. Born in 1695, he became a figure of great importance to both the religious orders and the wealthy elite of his time. His hands were busy with more than just paint; he was also a designer who understood how to decorate the spaces where people gathered for prayer and social prestige.
His work reflected the needs of a changing landscape. He moved between the quiet, solemn requirements of the church and the more personal, grander tastes of the colonial upper class. This duality allowed him to become one of the most sought-after artists in his region.
Cabrera's influence was felt through the many commissions he accepted throughout his career. He did not work in isolation but rather as a central part of the artistic fabric of his era. His ability to satisfy different patrons meant that his style touched both sacred and secular environments.
By the time he passed away in 1768, he had left behind a legacy that helped define the Mexican Baroque. His career was built on a steady demand for his specific skill set, making him a cornerstone of the local art scene during the mid-eighteenth century.
