Attributed to Gregorio Gamarra (Cuzco, Peru, c. 1570–1642) “The Holy Family with Saint Anne and Saint Joachim” Oil on canvas. Relined. 71 x 64 cm. In religious art, the representation of the Holy Kinship — the extended family and lineage of Jesus, including Saint Anne, Saint Joachim, the Virgin Mary, Saint Joseph, and the child Saint John the Baptist (here subtly suggested in the form of a lamb behind his grandmother) — is often combined with the Holy Trinity (the elderly bearded Father, the Son — aligned vertically with the other two Divine Persons and seated upon His mother — and the Holy Spirit in the form of a dove) in a composition known as the “Double Trinity” or the “Trinity of Heaven and Earth.” The possible author of this work was a mestizo painter born in Cuzco around 1570, active in the Viceroyalty of Peru during the 17th century, particularly in La Paz (Bolivia) and Cuzco (Peru). It remains unknown for whom this work was painted in Spanish America, whether for a viceregal altarpiece or as an independent devotional canvas, since it was quite common there to depict the celestial Trinity protecting the “Five Lords” (Jesus, Mary, Joseph, Joachim, and Anne). In fact, parallels to this painting may be found in the Arocena Collection and in the National Historical Museum of Argentina. Much of the biography of the artist remains unknown. Gamarra was a follower of the Jesuit painter Bernardo Bitti, from whom he learned greatly. He arrived in Cuzco from Potosí and in 1607 painted The Apparition of Saint Francis to Pope Nicholas V, now preserved in the Church of La Recoleta in Cuzco. The same church also houses his Immaculate Conception and The Vision of the Cross, the latter based on an engraving by Sadeler. In the city of La Paz, he left several important works, including The Virgin of Guadalupe, painted in Cuzco and signed and dated 1609; The Porziuncola; The Vision of the Chariot of Fire; and an Immaculate Conception with Saint Francis and Saint Diego, all preserved in the Convent of San Francisco in the city. Other examples of his work can be found in the National Museum of Art, such as The Adoration of the Kings, likewise based on another engraving by Sadeler. Grandiose in conception and conceived from a catechetical perspective, this religious scene — filled with symmetry, elongated and highly vertical figures, and brilliant colors — was possibly commissioned for a convent or church, or perhaps for the palace residence of a wealthy and deeply religious emerging Viceroy.