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)
José Sánchez Ferrer
UN CUADRO INÉDITO DE 1674 EN EL QUE ESTÁ REPRESENTADA LA VIRGEN DE CORTES EN SU RETABLO
Página 139
UN CUADRO INÉDITO DE 1674 EN EL QUE ESTÁ
REPRESENTADA LA VIRGEN DE CORTES EN SU RETABLO
AN UNPUBLISHED PAINTING FROM 1674 IN WHICH THE
VIRGIN OF CORTES IS REPRESENTED IN HER ALTARPIECE
José Sánchez Ferrer
Instituto de Estudios Albacetenses
josanchezferrer@gmail.com
Cómo citar este artículo: Sánchez Ferrer, J. (2022). Un cuadro inédito de la Virgen
de Cortes pintado en 1764. Al-Basit (67), 139-168. http://doi.org/10.37927/al-
basit.67_5
Recibido/Received: 13-4-2022
Aceptado/Accepted: 20-10-2022
ABSTRACT: This article analyzes
a small oil painting on copper in
which the Virgin of Cortes is re-
presented enthroned in the main
altarpiece of her hermitage, built
in Alcaraz (Albacete); the work
was painted by Luis Vargas Ma-
chuca in 1674. The image and its
iconography, the altarpiece and
the altar frontal that were repro-
duced in it are documented and
studied. An unpublished docu-
mentary testimony is included
on the grille that, due to the afo-
rementioned extension, had to
replace the one between the nave
and the transept of the church.
KEY WORDS: Baroque painting
in Albacete; baroque ironwork in
Albacete; XVII century; Virgin of
Cortes, Alcaraz (Albacete); pain-
ter Luis Vargas Machuca; master
RESUMEN: En este artículo se
analiza un pequeño cuadro al
óleo sobre cobre en el que está
representada la Virgen de Cortes
entronizada en el retablo mayor
de su ermita, levantada en Alca-
raz (Albacete); la obra fue pinta-
da por Luis Vargas Machuca en
1674, pocos años después de que
se terminara la ampliación de la
siglo XVI. Se documentan y estu-
retablo y el frontal de altar que en
el mismo están reproducidos. Se
incluye un testimonio documen-
tal inédito sobre la reja que con
motivo de la mencionada amplia-
ción debía sustituir a la que esta-
ba entre la nave y el transepto de
la iglesia.
PALABRAS CLAVE: Pintura ba-
rroca en Albacete; rejería barroca