Novohispanic school. 18th century. Attributed to José de Páez (Mexico City, 1727 - circa 1790). 'Saint John the Baptist in the desert' Oil on canvas. 168 x 112 cm.   This painting, depicting St. John the Baptist in the Desert, is one of a series of similar paintings produced in New Spain (present-day Mexico) during the 17th and 18th centuries. The theme of St. John the Baptist, especially his figure in the desert accompanied by a lamb was recurrent in the religious iconography of the time, used to highlight the ascetic life of the saint and his role as a precursor of Christ. The composition of this picture reflects a remarkable similarity with other paintings of the same subject matter, in particular with a painting by Baltasar de Echave Ibía, recently acquired by the Hispanic Society of America. Echave Ibía, active in the first half of the 17th century, was one of the main exponents of Baroque in New Spain, known for his use of chiaroscuro and the dramatic composition of his figures. His influence was so significant that his style was replicated and reinterpreted in later generations of New Spanish painters. Both Echave Ibía's “Saint John the Baptist in the Desert” and the one we have here present a young Baptist in an attitude of alertness, looking heavenward, with a lamb at his feet. The pose and drama of the figure are characteristic of the Baroque, emphasizing both the saint's spirituality and his connection to Christ's sacrifice.   Ibía's painting was influential enough to be copied or emulated by other artists, as our magnificent version demonstrates. It can be placed within the tradition of copies and adaptations, which was common in Novo-Hispanic workshops, and painted in our opinion by a later primary artist of great mastery, such as José de Páez, a painter active mainly between 1750 and 1780, who often revised and adapted established compositions for new commissions. In terms of execution, ours differs from Echave Ibia's work technically in the way the flesh tones are painted and in the use of the selected color palette. The figure of the lamb is a central symbol in the iconography of St. John the Baptist, representing Christ as the “Lamb of God”. This symbol, together with the dynamic posture of the saint, reinforces the pedagogical and devotional function of the painting, which would have been used both in churches and convents to inspire faith among the congregation. The paiting is, therefore, a testimony to the persistence and adaptation of iconographic models in Mexican colonial art, where the figure of the Baptist served for both personal devotion and religious teaching in the context of New Spain.