Virgin of Quito 18th century

Curator: This intriguing sculpture greets us as the "Virgin of Quito," crafted in the 18th century and now residing at The Metropolitan Museum of Art. My first impression is of someone caught mid-flight...or perhaps, in the midst of an impassioned plea. Editor: I’m struck by that gilded wing against the cloak... it lends her a somewhat unbalanced, even restless quality, despite the evident grace. The upward gaze, softened by her tilted head...it draws you in, doesn't it? Curator: Absolutely! It makes one wonder: what symbols were embedded in the sculpture by Bernardo Legarda, the artist himself? Editor: Well, considering the tradition of representing the Virgin Mary, that lunar crescent beneath her feet could reference the Woman of the Apocalypse. It’s a very common visual metaphor representing the triumph over darkness. Curator: Yes! And let's consider the materials—wood sculpture adorned with touches of what looks like gold leaf. Wood lends it an earthiness, yet the gilding speaks to divinity, almost reconciling the earthly and the heavenly. What is it doing in a museum like the Met? Editor: Interesting observation, there’s such complexity between raw earthiness of the wood, yes, combined with the sublime represented through gilding! These types of devotional images offered, or still offer, some access to heaven in your day-to-day experience. Curator: The gesture of her hands seems almost choreographed, the tilt of her head, even. There's such intentionality in guiding the viewer's emotional experience. The Virgin, positioned on top of this sort of hybrid beast or mythical animal there - like a dragon crushed? - makes her seem ethereal, poised for transformation... Editor: Precisely, it invites empathy. The silver crown studded with stars suggests purity, illumination – the guiding light...even protection. That star motif repeats in those metallic accents...almost echoing like prayers into the heavens. Curator: Indeed. Looking at it now, there’s a powerful fusion of indigenous craftsmanship and imported European baroque styles present. So, it’s the expression of colonial syncretism: an emblem of blended cultural beliefs. Editor: A wonderful summation! She embodies cultural memory. This sculpture provides more than just art. It offers insight into human longing, cultural hybridity and symbolic language, which resonates deeply even now.