The paintings of Simón de Vos at the Monastery of the Conception in the City of the Kings (Lima, 17th century)

• Autor: Pérez Miguel, Liliana
• Formato: artículo
• Fecha de Publicación: 2026
• Institución: Pontificia Universidad Católica del Perú
• Repositorio: Revistas - Pontificia Universidad Católica del Perú
• Lenguaje: español
• OAI Identifier: oai:ojs.pkp.sfu.ca:article/33293
• Enlace del recurso: http://revistas.pucp.edu.pe/index.php/historica/article/view/33293
• Nivel de acceso: acceso abierto
• Materia: Simón de Vos; Monastery of la Concepción; Lima; Flemish painting; 17th century; Peter Paul Rubens; Baroque art; Forchondt; Art market; Monasterio de la Concepción; Pintura flamenca; Siglo XVII; Arte barroco; Mercado artístico

This study presents a group of twenty-four Flemish paintings housed in the Monastery of the Conception in Lima, attributed to or ascribed to Simon de Vos, a Flemish painter from Antwerp and a member of Peter Paul Rubens’ circle. Executed in the late 1630s and early 1640s, the works are organized into two series: one dedicated to episodes from the Old Testament and the other to the life of the Virgin. Although the existence of these paintings was known through documentary references, no visual record or comprehensive study of the complete series was available until now. This article aims to make this collection known by situating it within the historical and artistic context of its production and acquisition, while also opening new avenues for research on both Simon de Vos and seventeenth-century Flemish painting, as well as on the artistic networks of the Peruvian Viceroyalty and the broader colonial Americas. Within this framework, it is essential to highlight the role of female monastic communities as spaces for the reception, preservation, and circulation of artworks. The active participation of these communities in the formation of devotional and artistic networks was instrumental in bringing these paintings to Lima.