The Annunciation stylistically concurs with extant works by the tanlented Indian Basilio de Santa Cruz Pumacallao (1635-1710?). As his name suggests, he may have been born in Lima's port city (Callao). From 1661 until 1667 he was an "official painter" of the Cathedral of Cuzco. Upon his visit to Cuzco in 1668, the Count of Lemos (Viceroy of Perú) praised the 24 works by Santa Cruz de Pumacallao in the Cathedral. The artist subsequently was patronized by Don Manuel de Mollinedo y Angulo, Bishop of the diocese of Cuzco between 1673 and 1699. Like other extant works by Santa Cruz Pumacallao, the Annunciation attests to his knowledge of European art. Later paintings commissioned by Mollinedo for the Cathedral of Cuzco around 1690 show a bolder use of color. The change from a nonochromatic palette might be attributed to his study of late Baroque Madrileñian art in the Bishop's collection. Santa Cruz Pumacallao's skill in representing chiaroscuro is evident in his Annunciation, from the Gloria of God to the private conversation between Mary and the Archangel Gabriel. The recondite theme, which includes the subject of the Trinity - God, the Holy Spirit as a dove and Incarnated Christ - would have been enhanced by its original setting within a darkened church illumined only candles.

Dr. Barbara von Barghahn
Washingotn, D.C., 1992