Colonial School. Puerto Rico. Final quarter of the 18th century. Colonial School. Puerto Rico. Final quarter of the 18th century. Oil on canvas. 77 x 55,5 cm. Depicting the Virgin of Mercy as patron of the city of Barcelona. José Dufresne, who was governor of the Island of Puerto Rico from 1776 to 1883 appears as a donor in the left side of the painting. He was also an engineer and captain of the Vitoria regiment, easily identifiable due to his uniform, which displays a Jose Campeche cross which is kept with that belonging to his wife at the Puerto Rico University Museum. In the lower corner the donor’s coat of arms can be seen and one of the quarters alludes to the surname Dufresne as evidenced by the tree with the rampant animal. Also, it should be noted that the donor had Catalan origins, being born in Mataró. This link strengthens the idea that the gentleman commissioned his portrait in the colonies but with the patron of his homeland. With regard to the composition of the painting, it can clearly be seen that the painter has used the mid-18th century engraving by Vicente Galceran as a reference. As the academic and expert on Campeche, Arturo Dávila notes, some of Campeche’s work could have been inspired by Catalan engravings. Finally, the greater part of this painting is undoubtedly a portrait which has been preserved in its entirety and which is of a comparable quality to painting by Campeche himself. It should be stressed that, being one of his paintings, it would be the first done in the second half of the 1770s.Colonial School. Puerto Rico. Final quarter of the 18th century. Colonial School. Puerto Rico. Final quarter of the 18th century. Oil on canvas. 77 x 55,5 cm. Depicting the Virgin of Mercy as patron of the city of Barcelona. José Dufresne, who was governor of the Island of Puerto Rico from 1776 to 1883 appears as a donor in the left side of the painting. He was also an engineer and captain of the Vitoria regiment, easily identifiable due to his uniform, which displays a Jose Campeche cross which is kept with that belonging to his wife at the Puerto Rico University Museum. In the lower corner the donor’s coat of arms can be seen and one of the quarters alludes to the surname Dufresne as evidenced by the tree with the rampant animal. Also, it should be noted that the donor had Catalan origins, being born in Mataró. This link strengthens the idea that the gentleman commissioned his portrait in the colonies but with the patron of his homeland. With regard to the composition of the painting, it can clearly be seen that the painter has used the mid-18th century engraving by Vicente Galceran as a reference. As the academic and expert on Campeche, Arturo Dávila notes, some of Campeche’s work could have been inspired by Catalan engravings. Finally, the greater part of this painting is undoubtedly a portrait which has been preserved in its entirety and which is of a comparable quality to painting by Campeche himself. It should be stressed that, being one of his paintings, it would be the first done in the second half of the 1770s.