Gregorio Vázquez de Arce y Ceballos (Bogotá, Colombia, 1638 - 1711) "The Flight into Egypt 159 x 157 cm. The painting depicts a poignant moment in the biblical narrative: the Holy Family fleeing to Egypt to escape the persecution of King Herod. The Virgin Mary, mounted on a donkey, tenderly holds the Child Jesus while Saint Joseph, with a serene face and protective gesture, guides the animal through a rugged but harmonious landscape. The work conveys a profound sense of tranquillity in the midst of uncertainty, achieved through an excellent use of light and composition. The detail in the clothing and the faces of the figures reflects the devotion characteristic of Vásquez's style. Gregorio Vásquez de Arce y Ceballos, born in Bogotá in 1638, is considered one of the greatest exponents of colonial art in New Granada (present-day Colombia). With a prolific career that spanned much of his life, Vásquez left a legacy of religious works that significantly influenced the artistic development of the region. His style combines elements of the European Baroque with a sensitivity and devotion characteristic of the Latin American context of the 17th century. The attribution of "Flight into Egypt" to Vásquez is based on several stylistic aspects that are distinctive in his work. These include the masterful handling of chiaroscuro, the expressiveness of the faces, and the focus on the humanity of the sacred figures, which invites the viewer to a profound contemplation of the scene. The way the light bathes the Virgin and Child emphasises the divine protection, while Saint Joseph, although earthly, acts as guide and protector on this journey. This particular use of light not only heightens the drama of the religious scenes, but also lends a sense of proximity and humanity to the divine figures. In addition, the rendering of the details of the vestments, especially the fabrics, is a hallmark of Vásquez's technical skill. In this work, the texture and folds of the fabrics, from the green of the Virgin's cloak to the warm tones of Saint Joseph's tunic, demonstrate an attention to detail that reinforces the sense of realism and devotion. This previously unpublished work is not only a testament to the artistic talent of Gregorio Vásquez de Arce y Ceballos, but also an example of how colonial painting served as a means of evangelisation and devotion in Latin America. The work is a reflection of the crucial role of art in the religious and cultural life of the period, and demonstrates Vásquez's ability to connect the viewer with the divine through a deeply emotive visual narrative. Vásquez, through his work, established himself as a central figure in the consolidation of the Baroque in New Granada, and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast number of works, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. "The Flight into Egypt" is a representative work of his legacy, both for its artistic quality and its historical relevance. Not only is it a piece that encapsulates the spirit of the times, but it also represents the bridge between European Baroque art and Latin American devotional sensibilities. The universal nature of the subject matter - family, journey, protection - makes the work resonate with contemporary audiences, while its authenticity and technical mastery ensure its position as a desirable work in any collection of viceregal art. Stylistic and Technical Comparison between The Flight into Egypt and Works by the author Gregorio Vásquez de Arce y Ceballos When analysing The Flight into Egypt in relation to other works by Gregorio Vásquez de Arce y Ceballos, we can establish a number of stylistic and technical similarities that reinforce its attribution to this master of the Neo-Granadine Baroque. Throughout six key comparatives, we observe patterns in the use of chiaroscuro, composition, colour palette and expressiveness that are indicative of Vásquez's hand. 1. Comparison with The Adoration of the Shepherds (Museo Colonial de Bogotá) In this work, one of Vásquez's best known, the pyramidal composition and the use of chiaroscuro are prominent elements. A comparison with The Flight into Egypt reveals a similar compositional structure, with the Virgin and Child occupying a central, hierarchical position. In both, the use of light serves to highlight the sacred figures, while the background is kept in semi-darkness. Furthermore, the tenderness in the gestures and expressions of the figures is a characteristic feature that reinforces the attribution to Vásquez. 2. Comparison with Saint Rose of Lima: Mystical Nuptials (Museums of the Republic, Bogota) In this work, Vásquez uses a palette of warm colours, similar to that used in The Flight into Egypt. The earthy and golden tones unify both compositions, creating an atmosphere of serenity. Furthermore, the arrangement of the figures in a hierarchical structure, in which the main figures dominate the scene, is a recurring technique in the painter's work. As in The Flight into Egypt, the gestures and expressions convey a profound devotion and peace. 3. Comparison with Our Lady of the Angels (Museo Seminario, Bogotá) In Our Lady of the Angels, the celestial representation and the hierarchical organisation of the figures is similar to that of The Flight into Egypt, although in the latter the scene is more earthly. In both works, the use of angels and the light emanating from the main figures emphasises the divine character of the figures. The colour palette, dominated by warm, earthy tones, is a constant in Vasquez's work. The similarity in the way religious symbolism is depicted, such as the divine protection in both scenes, reinforces the attribution. 4. Comparison with The Last Judgement (Church of San Francisco, Bogota) In this large-scale work, Vásquez demonstrates his ability to handle complex compositions with multiple figures. Although The Flight into Egypt is a more intimate work, they share a clear hierarchical organisation in which the central figures are arranged to attract the viewer's attention. The colour palette and the use of chiaroscuro are also recurring elements in both compositions. The expressiveness of the figures and the attention to detail, such as the gestures of the hands, are consistent in both works. 5. Comparison with Saint Joseph and the Child (Museo del Seminario, Bogotá) This work, which depicts an intimate scene between Saint Joseph and the Christ Child, shares with The Flight into Egypt a focus on the tenderness and humanity of the religious figures. In both pieces, the use of a simple but emotionally charged composition allows the viewer to focus on the relationship between the characters. In addition, the warm colours and the detail in the vestments reinforce the stylistic similarity between the two works. The lily in Saint Joseph's hand, a symbol of purity, and the symbolism of protection in The Flight into Egypt are another point of connection. 6. Comparison with The Adoration of the Shepherds (Second Version, Colonial Museum of Bogota) In this second version of The Adoration of the Shepherds, we see a repetition of the compositional scheme with a hierarchical arrangement of the sacred figures. In both works, chiaroscuro plays an important role in highlighting the main figures. In addition, the texture of the garments and the detailed folds of the drapery is a constant feature repeated in The Flight into Egypt, which reinforces the attribution to Vásquez. Bibiographical References: - 'Gregorio Vásquez: the life and work of the most important painter of the New Kingdom of Granada' by Santiago Sebastián (1985). - Colonial painting in Colombia' by José Manuel Groot (1987). - Painting in the Viceroyalty of New Granada' by Elisa Vargas Lugo (1970). - Painting in Santafé de Bogotá' by Santiago Sebastián and Germán Rubiano Caballero (1983). .