{"version":"1.0","type":"rich","provider_name":"La Tribune de l’Art","provider_url":"https:\/\/www.latribunedelart.com","title":"Seven crosses by Mar\u00eda Josefa S\u00e1nchez and one by Cecco del Caravaggio for North American museums","author_name":"B\u00e9n\u00e9dicte Bonnet Saint-Georges et Didier Rykner","width":"1600","height":"900","url":"https:\/\/www.latribunedelart.com\/six-crosses-by-maria-josefa-sanchez-for-north-american-museums","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/www.latribunedelart.com\/six-crosses-by-maria-josefa-sanchez-for-north-american-museums'\u003ESeven crosses by Mar\u00eda Josefa S\u00e1nchez and one by Cecco del Caravaggio for North American museums\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\u003Cp\u003EAlmost nothing is known about Mar\u00eda Josefa S\u00e1nchez, except that she was active in Castile between 1639 and 1652 and that she painted cell crosses: these devotional objects, aids to prayer and meditation, were widespread in Spanish and Latin American convents in the 17th and 18th centuries, in keeping with the spirituality of the Counter-Reformation, following various works written in the second half of the 16th century, Ignatius of Loyola\u2019s Spiritual Exercises\u003C\/p\u003E\u003C\/blockquote\u003E\n"}