San José con Niño
ca. 1790
20.5" x 11.125"
Retablos, ponderosa pine, gesso, natural pigments
Region: New Mexico
Saint Joseph is the husband of Mary and the foster father of Jesus. He is universally esteemed as the patron saint of the family. He usually is depicted holding the Christ child and a flowering staff. He is sometimes shown with a crown and is always bearded. The flowering staff refers to the miraculous blossoming of his staff during the courtship of Mary, which led to his being selected as her successful suitor.

About the Artist
One of the few artists working in Spanish New Mexico during the late 18th and early 19th centuries, Jose Aragon (active (1820-1835) focused on religious images for churches and homes. He was a wood carver who used local woods such as ponderosa pine or cottonwood roots and also a painter who used watercolor and tempera. For his woodcarvings, his method was to cover the carved object with gesso or plaster and then apply color with watercolor paints. He was especially noted for his creative decorative motifs, color contrasts, boldness of line and abstract forms. Much of his work was creating monumental altar screens, and he also supervised church-decoration projects and carved retablos. Evidence shows that he was active for nearly fifty years, from 1815 to 1862.

The first record found of him is in Santa Fe on July 19, 1815 when he married Maria Josefa Lucero. Three years later, he made a pledge to the church, but he never paid, which likely indicates he had financial problems early in his career. By 1823, he and his wife and children lived in the Bario de San Francisco, which was the woodworkers' district of Santa Fe.

One of his first commissions, between 1818 and 1826, was the altar screen in the church of San Lorenzo at Picuris Pueblo near Santa Fe. He used tempera paint. Around 1835, he moved to a new home in the village of Quemado, later named Cordova, New Mexico. He went there to be with his second wife, Josefa Cordova, whom he married after the death of his first wife. There he carved and painted in folk-art style the main altar of the Quemado Church of San Antonio, and this became one of many projects that built his reputation throughout the Santa Cruz Valley. He did work on most of the churches in the area including at Santa Cruz, El Valle, Truchas, Chimayo, Hernandez, and Pojoaque. He also worked in the Taos area.

Christine Mather, Essay, American Folk Painters of Three Centuries, edited by Jean Lipman and Tom Armstrong