Portal de Lorca
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It is "Ecstasy of Santa Teresa", "The incest of the daughters of Lot" and an Immaculate, works made between 1695 and 1710 that can be seen in the Sala del Estrado and the access staircase to the second floor of the Palace.
The Councilor for Culture in the City of Lorca, Agustín Llamas, has reported that Lorca already have the three large canvases by Camacho Felizes that are part of the collection of paintings linked to the BIC declaration of the Palacio de Guevara.
We are talking about "Ecstasy of Santa Teresa", "Incest and the daughters of Lot" and an Immaculate It is about some works that have been restored in the Murcia workshop ASOARTE, directed by Loreto López
Llamas Gomez explained that the cleaning and restoration that has been done of these paintings has had a different degree of difficulty because of its state of conservation.
In all cases the canvases have had to be implemented with perimeter strips, inadequate patches and old repaints have been corrected, and a thorough cleaning has been carried out that complicated the use of inadequate varnishes.
While the Immaculate has required a general cleaning and minimal reintegration of small affected areas, the paintings of St. Teresa in Ecstasy and The Incest of the Daughters of Lot have required a more complex intervention.
In the first case, the lifting of repaints has affected areas of very specific lighting, while in the second painting the repaints reached up to the concealment of some part of the figures.
The incest of the daughters of Lot can be seen today as it came out of the brushes of Camacho, who for this occasion faithfully interpreted the composition of the same subject of the French painter Simon Vouet, adding a landscape background with figures that due to its deterioration been almost completely masked.
El Edil de Cultura, going into details, explained that the painting of the Immaculate (after 1710) is an oil painting on canvas with dimensions of 260 x 200 cms.
In the Guevara is located on the main staircase to access the main floor.
It is a canvas of uncertain affiliation because although it presents many of the characteristics of Camacho's painting, it could also respond to the aesthetic and Baltasar Martínez Fernández de Espinosa, who in his first stage imitated in all the canvases that were supposed to be your teacher
The Immaculate model, the arrangement of the hands, the clothing and mantle, the types of angels that are arranged around it and even the choir of angels in the background, as well as the landscape at the feet of the Virgin, refer the painter Camacho although they belong to a more refined aesthetic within the painter's production, and therefore corresponding to the last years of his life.
It is new in the style of this painter the way to work the mantle, with angular folds, and a sweetening of the face of the Virgin in him seem to have abandoned a type of straight and long nose and eyelid eyes very highlighted by light.
The oil that occupies us plays an important role in the set of canvases commissioned for the house of the santiaguista gentleman.
It is found next to the equestrian portrait of Don Juan de Guevara and recalls the oath that those who belonged to this Order made to defend the dogma of the immaculate conception of Mary, an oath that is made clear to all who enter the building through this large square that presides over the main access to housing.
The two large canvases of the access staircase portrait of Don Juan (restored in 2001) and Inmaculada- are the end of the triumphalis track in honor of the surname Guevara, described by Belda Navarro in his article, which began on the façade and ended in the staircase after crossing the columned patio.
In addition, it forms a unique cover letter for a tour of the interior of what will be a museum house, which will provide the visitor with the contemplation of unique domestic spaces and a wide collection of furniture and paintings that span the seventeenth to the nineteenth centuries.
The Councilman of Culture has stated that the incest of the daughters of Lot is an oil painting on canvas of a size of 209 x 309 cm and dated around 1695. Compositively, the canvas of The Incest of the Daughters of Lot is a direct debtor of one of the most celebrated creations of the French painter Simón Vouet (15901649) that Camacho extended introducing in the left zone a distant vision of the cities of Sodom and Gomorrah destroyed by fire.
There are some slight modifications with respect to the main group (one of the daughters holds a glass of wine, or less nakedness is shown in the female characters), but the essence of the original group remains in this Lorca replica.
She has incorporated the facial features of the painter, a greater intensity in the lighting and the particular way of styling Lorca's fabrics.
It is a canvas of Camacho's greatest artistic endeavor, which introduces an unusual landscape scene in his work.
Agustín Llamas has added, with respect, to the Ecstasy of Santa Teresa, which is also an oil painting on canvas, with a size of 204 x 291 cm.
Dated around 1695. The motif of the painting is a subject abundantly represented in Western art since the saint's canonization in 1622. However, the composition that Camacho uses to represent this scene has more to do with the painting of the Italian Lanfranco on a similar issue the ecstasy of Santa Margarita de Cortona.
Only the main group seems influenced by prints, since the rest of the work Marian apparition and group of angels playing with the elements of the table is a recreation of the Lorca to expand the scene of the painting and give it an architectural environment in accordance with what which was supposed to be the cell of the saint in which the mystical experience took place.
The painting contains all the aesthetic elements that define the painter's art - faces and hands, fold of cloths, short range of colors with preference of ocher and browns and the taste for naturalistic details that give the canvas an almost domestic air.
Resolved the space in which the main figures are placed with a simple perspective, the break of glory in which the Virgin and Child appear serves as the main focus of illumination, intensifying the light on the figures, and to prolong the reduced space of the cell monkish.
Biographical notes of Camacho Felizes
The collection of paintings by Pedro Camacho Felizes de Alisén (1644-1716), which houses the Casa de Guevara, is undoubtedly the most relevant exhibition of this Lorca painter, as he reaches a score of canvases that comprise different stages of the artist.
Camacho was the best painter of a trilogy Lorca that composes with Matheos Ferrer and Muñoz de Córdoba, and even the painting he practiced between the final years of the seventeenth and the date of his death reaches levels of quality that place it on a par with the painters murcianos of the moment.
Educated initially in the local area, he completed his training, possibly self-taught, in Murcia where he was located in 1671. In 1678 he would return to Lorca, a city where he remained for the rest of his life.
Married with his cousin María Maldonado, he tried a process of ennoblement that would not end and also access to one of the city's regidurias.
He enjoyed fame and esteem and in him the most important commissions of individuals and institutions would fall.
The almost contemporary and subsequent literary testimonies strengthen for him a favorable critical judgment of his peers, a judgment that supports the restoration that has been undertaken of the important pictorial cycle of the House of Guevara.
The "skill and subtlety" of his brush, mentioned by Morote, now begin to have a certain sense to discover, free the paint of oxidized varnishes and subsequent retouching, how this artist, on a preconceived idea, raised the drawing of his paintings directly with a very diluted oil, loading of matter the brush in the illuminated areas and tracing admirably, with wide planes and gusts, the volumes created by the clothes.
To all this we should add some very studied compositions, whose analysis includes the monograph that was dedicated to him, which even reach small format paintings such as the allegories of the cardinal virtues of the aforementioned cycle of Casa de Guevara.
Camacho retains a sufficient sample of all his artistic career to appreciate the evolution he suffered.
Attached in the early years to the influx of flamenco and Italian prints, from them he took isolated characters to compose his scenes.
Examples of this are the more artful paintings preserved in the ex-collegiate church of San Patricio.
But the trip he made to Granada around 1692, where he would stay for some time to solve a lawsuit in the Royal Chancery, put him in touch with the best Andalusian painting of the moment and to this is attributed the rapid evolution experienced in recent years in terms of technique and materials, since it is from then on when the most luminous mineral lands begin to appear, an extreme loose brushstroke and some spatial and atmospheric qualities achieved with the rigorous use of perspective, a better disposition of the figures in the scene and the degradation of tones in depth.
His sources of inspiration are no longer so clear, however, noticing a certain harmony in the general approach of his paintings with what was done by the best Spanish painters immediately before him.
In the final stage of his work Espin noticed a completely different way, not at all similar to the previous thing because of the brilliance of the colors, which tended to the purplish and pastel shades, and a softness of contours that conferred a certain vibration on the figure with respect to to the environment in which she was immersed.
The two large canvases painted for the presbytery of Santo Domingo de Orihuela already announce some of this, but the clearest example, the Four Doctors of the Church painted for the then collegiate church of St. Patrick, was destroyed in the civil war.
The equestrian portrait of Don Juan de Guevara, if confirmed his attribution, could be the most genuine exponent of that new way in which his painter ended his activity.
Source: Ayuntamiento de Lorca
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