Active in Puebla during the first half of the 18th century, Luis 1 Berrueco was the most prominent painter of a group that included five others sharing the same surname,...
Active in Puebla during the first half of the 18th century, Luis 1 Berrueco was the most prominent painter of a group that included five others sharing the same surname, and which formed a family dynasty. We also know that he learnt his trade under the guidance of Juan Correa, the latter therefore being one of his benchmark figures. With regard to Berrueco's artistic output, it is worth highlighting the fact that he was one of the first artists to develop the Castas painting genre” (Fig. 1). His career was largely linked to the aforementioned city of Puebla, although his work was also popular in Atlixco, Tlaxcala, Aguascalientes, San Luis Potosí and Querétaro, due to his close connections with the Jesuit and Franciscan Orders, from which he received numerous commissions. Large part of his work is currently scattered between various institutions, such as the Museo de la Universidad Autónoma in Puebla, the Museo de Chapultepec in Mexico City, the Museo Regional in Querétaro, and Madrid's Museo de América.
The subject of the work we are addressing here refers to Our Lady of Refuge, a Marian title originating from Italy, and which over the years became popular in other parts of the world, largely thanks to the dissemination carried out by religious missionaries. The advocation itself was created and popularized by Antonio Baldinucci (1665– 1717)34 who, according to Father Francisco de Florencia, “Deseaba grandemente tener una imagen de la Santíssima Virgen, que fuera su Compañera, Guía y Maestra en las Missiones. Para esto llamó a un pintor de los menos afamados de Roma, y habiéndole dado la idea, consiguió con sus oraciones que saliesse la imagen tan perfecta que tuvieron mucho que celebrar y admirar los Maestros más acreditados en el arte de la pintura”.