73 - MARIANO SALVADOR MAELLA (Valencia, 1739 – Madrid, 1819).

MARIANO SALVADOR MAELLA (Valencia, 1739 – Madrid, 1819). “Immaculate Conception.” Oil on canvas. Relined. Shows signs of repainting. Measurements: 83 x 57 cm; 90 x 64 cm (frame). This painting of the Immaculate Conception is part of the tradition of religious painting by Mariano Salvador Maella, a leading figure in the artistic renewal promoted by the Crown during the reigns of Charles III and Charles IV. The composition reveals interesting similarities with several versions of this subject painted by the artist and preserved in major Spanish public collections. The overall silhouette of the Virgin bears a close resemblance to the figure Maella painted in 1778 for the altar of the New Chapel at the Palace of Aranjuez, although in that version her hands are crossed over her chest, whereas in the work presented here they are joined in a prayerful gesture. This latter arrangement finds parallels in other interpretations of the subject associated with the painter. Particularly significant is the comparison with the Immaculate Conception housed in the Museum of Huelva, dated 1790, with which it shares similarities in the overall conception of the Marian figure, the arrangement of the mantle, and, in particular, the organization of the celestial space. The presence of cherubs in the upper section and small angels in the lower section establishes a compositional dialogue with that version, reinforced by the appearance, in the lower left corner, of an angel bearing the palm of martyrdom. Likewise, points of similarity can be noted with the Immaculate Conception of Maella housed in the Prado Museum (P007602), dated 1781, particularly in the conception of the Virgin’s figure, the arrangement of her hands, and the treatment of the mantle. These parallels allow us to situate the painting within the iconographic repertoire developed by the artist to depict one of the fundamental themes of 18th-century Marian devotion. The comparison with these documented versions lends particular interest to the work, as it enables us to study the evolution and repetition of compositional models in Maella’s religious output. Born in Valencia in 1739, Mariano Salvador Maella trained in Madrid under the sculptor Felipe de Castro and, later, at the newly founded Royal Academy of Fine Arts of San Fernando, where he was a student of Antonio González Velázquez. In 1757, he traveled to Rome to complete his training, immersing himself in the Italian artistic scene. Upon his return, the influence of Anton Raphael Mengs proved decisive in the evolution of his pictorial language toward the ideals of academic classicism, without completely abandoning the expressive richness of the Baroque tradition.His distinguished career was closely linked to the court. Beginning in 1774, the year he was appointed court painter, he participated in major decorative projects for the Royal Palace of Madrid and other royal residences, while also holding responsibilities at the Royal Tapestry Factory of Santa Bárbara. His institutional prestige was consolidated through his teaching and administrative work at the San Fernando Academy, where he eventually became director, and reached its peak in 1799, when Charles IV granted him the title of First Painter to the King, a title he shared with Francisco de Goya. The presence of Maella’s works in leading collections—such as the Prado Museum, National Heritage, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Valencia—confirms the significance of his legacy within Enlightenment-era Spanish painting. It shows signs of having undergone repainting.