Una pintura del mulato Tomás de Sosa en España.

San Antonio de Padua y el milagro de la mula: su hallazgo en una colección privada

Abstract

Studying an artist’s visual production is constrained by the known corpus of his artwork, making the discovery of any new painting an opportunity to expand or correct what is known about him. In the painters’ guild in New Spain, scant information is available on members who identified themselves as mulattos. This was the case of Tomás de Sosa, who was known solely by references to his name until a decade ago, when three of his paintings were located in different collections. More recently, the appearance of another painting signed by Sosa in a private collection in Spain, Saint Anthony of Padua and the Miracle of the Mule, has made it been possible to reconsider the dating of his life and work, as well as his possible connections to Juan Correa, another mulatto painter.