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Concha, Andrés de la locked

(fl 1568–1612; d Mexico, 1612).
  • Maria Concepción García Sáiz

Spanish painter and architect, active in Mexico. In 1568 he went from Spain to Mexico, where he was commissioned to paint the principal retable of the church of the Dominican monastery, Yanhuitlán, Oaxaca State, with the Annunciation, the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Descent from the Cross, the Resurrection, the Ascension, Pentecost, the Last Judgement, the Immaculate Conception, St Jerome, Mary Magdalene, St Luke, and St Dominic (1570–75). These reflect his style as a Mannerist painter of the Seville school influenced particularly by Luis de Vargas.

In 1580–81 Andrés de la Concha collaborated with Simón Pereins on the retable (destr., paintings untraced) of the high altar in the monastery of Teposcolula, Oaxaca State; and in this period he also worked in the church of the Dominican Order of Coixtlahuaca, Oaxaca State, on paintings for the retable, of which eleven panels survive: three dedicated to the Apostles; seven to the Life of Christ, and one to the Eternal Father (all in situ). Around 1587 he painted the high altar in the church of the monastery of Tamazulapán, Oaxaca State; four panels exist, all dedicated to the Life of Christ (in situ). Between 1590 and 1596 he painted the high altar (destr.) of the former convent of S Agustín de México, Mexico City. He was made Maestro Mayor of the Hospital de Jesús de México, Mexico City, in 1597 and until 1607 was involved in its construction.

Andrés de la Concha was commissioned in 1599 to paint the catafalque erected to mark the death of Philip II, and in 1603 he worked on the triumphal arch built for the reception in Mexico City of the Viceroy, the Marqués de Montesclaros, and used in 1604 to receive the Archbishop Fray García de Santa María in the cathedral. His work as an architect included projects for the cathedral in Mexico City (1603–10), and the ground-plan of the church of the Hospital de S Hipólito, Mexico City, is attributed to him. In 1611 he built the Alcaicería del Marqués del Valle (the market place for raw silk); his retable for S Domingo, Oaxaca, was left unfinished at his death.

Andrés de la Concha is thought to have been the St Cecilia Master and may have been responsible for the paintings of St Cecilia, the Holy Family, and the Martyrdom of St Lawrence (Mexico City, Pin. Virreinal).


  • M. Toussaint: ‘Tres pintores del siglo XVI: Nuevos datos sobre Andrés de la Concha, Francisco de Zumaya y Simón Pereyns’, Anales del Instituto de investigaciones estéticas, vol.9 (1942), pp. 59–60
  • D. Angulo, E. Marco Dorta, and J. Buschiazzo: Historia del arte hispanoamericano, vol.2 (Barcelona, 1945–56), pp. 383–4
  • G. Kubler and M. S. Soria: Art and Architecture in Spain and Portugal and their American Dominions, 1500–1800 (London, 1969), p. 306
  • E. Castro: ‘Los maestros mayores de la Catedral de México’, Artes de México, vol.21(182–3) (1976), p. 140
  • E. Marco Dorta: ‘Noticias sobre el pintor Andrés de la Concha’, Archivo español de arte [prev. pubd as Archv Esp. A. & Arqueol.], vol.50 (1977), 199, p. 343
  • G. Tovar de Teresa: Pintura y escultura del renacimiento en México (Mexico City, 1979), pp. 129–36
  • M. Fernández: Arquitectura y gobierno virreinal: Los maestros mayores de la ciudad de México (Mexico City, 1985), pp. 65–76, 255–6
  • G. Tovar: ‘La Destrucción de la Ciudades de México’, Vuelta, vol.125 (March–April 1987), pp. 10–17
  • M. Fernández: ‘Andrés de la Concha: Nuevas noticias, nuevas reflexiones’, Anales del Instituto de investigaciones estéticas, vol.15(59) (1988), pp. 51–68