Peruvian colonial school; first half of the 18th century. "Saint Joseph with Child". Oil on canvas. Relined. It presents restorations inlaid with silver in the halo and the clothes. Measurements: 161 x 88,5 cm. Devotional scene, in which the figure of a mature man is appreciated, standing, holding a Child in his arms, who are identified as the Child Jesus, and Saint Joseph. In the case of the Child, the identification is produced by his white garment, alluding to purity, and the nimbus that surrounds his head. In the case of Saint Joseph, he is depicted at a mature age, with his usual staff of lilies, alluding to his matrimonial union with the Virgin Mary. Until the Counter-Reformation, it was common for the figure of Saint Joseph to remain in the background, as he was not accorded any theological importance. From Trent onwards, however, his leading role as Jesus protector during his childhood, as a guide during his youth, was revived, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus putative father as protector. The Peruvian Colonial School developed between the 16th and 18th centuries after the arrival of the Spaniards in the country and as a result of the influence of three major currents, the Spanish, Italian and Flemish. The Catholic religion took on great importance as it played a decisive evangelising role, so that biblical themes, such as the one presented in this auction, proliferated following European techniques and models. It is worth mentioning that, during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.