by Joy Houston

Larger than life defines the new mural installed in the church of San Francisco el Grande in Antigua, Guatemala. Literally, symbolically and spiritually. The work by Guatemala artist Rosamaría Pascual de Gámez was inaugurated in April, in time for the second anniversary in July of the canonization of Saint Hermano Pedro José de Betancourt, whose tomb resides in the south nave. Saint Hermano Pedro is depicted near the top right of the painting, carrying the baby Jesus in his right arm and clutching his identifying bell in his left hand. He is gazing up at the image of God the Father with outstretched arms, an image emerging through an explosion of light that dominates the work.

Rosamaría with her mural: a close-up

The mural was requested by parish priest Father Damián Muratori in July 2003. It was at the inauguration of two other of the artist’s works that also feature Hermano Pedro, which now hang in the museum adjacent to the church. Rosamaría, as the artist chooses to be called, remembers, “He asked me right there in front of everyone to paint the life of Saint Francis.”

One might think that anyone found in such auspicious company had worked long and hard to get there. But Rosamaría, with widened eyes herself, says, “When I was 39, if someone had told me that in a few years I would be painting murals for churches, I would have said they were crazy! It was like a miracle in my life.”

Rosamaría’s husband of 44 years, Francisco, came to Guatemala from Barcelona in the 1950s with his family. He spent the major part of his career with General Mills. Together they reared four sons and now have 11 grandchildren. “When the boys were grown, I started to paint,” she recounts. The second floor space where the boys used to study is now Rosamaría’s studio. “It’s just practical,” she nods assuringly. “At home it is easy to paint.” And paint she does. “From the moment I started, I haven’t tired of it.” Her passion drives her ten hours a day, Monday through Sunday, when she is into a work.

She learned the basics of brushes and strokes from Francisco Poggio, then studied for two years with Josefina de Polantinos “who taught me to find beauty in any corner, especially in every face” and with Luis Penedo “who introduced me to the study of light and dark.” She began with portraits, now claiming 150 completed, and then switched to still life.

For subjects, she constantly examines elements of Mayan life: the intricate designs of huipiles and pots and the natural beauty of corn, fruits, flowers, bread — and candles. In fact, intense points of bright orange in her candles and fires are a distinction of her work. “I put a lot of emphasis on light and dark,” Rosamaría points out, adding that painting by candlelight gives a touch of mysticism to the work. Her still lifes have been the subject of 28 personal exhibitions, including one at the International Club in Washington, D.C., coordinated through the Guatemala Embassy in 1987.

Rosamaría with her mural:
the entire mural

In 1994 a friend asked Rosamaría to paint a mural for the church Santa María de Cahabón in Alta Verapaz. When she finished it two months and 29 square meters later, she called it “the greatest blessing in my artistic life,” referring to the creative joining of rich Mayan culture and Christianity and the people she met while doing it. One mural led to another, now numbering 15 and totaling 200 square meters, for churches in the interior of the country as well as Guatemala City, all donations of the artist. Those of Rosamaría are the only murals known to have been done recently for churches, perhaps due to cost. But she assures, “The blessings I receive are much more valuable than money.” In this case, the church of San Francisco el Grande provided the painting materials and framed the mural.

Inside its carved and gilded frame, the painting fits like a glove in the arched niche that measures 4.5 meters wide by 5.5 meters high and had been vacant for many years. The custom fit is in itself unique. After the earthquake of 1773, many artworks from Antigua were sent to the new capital, now Guatemala City, including those that had been designed specifically for the niches of San Francisco el Grande. Assorted artworks returned to Antigua in the 20th century did not fit the spaces. It seems appropriate that the church that had become a cultural as well as religious center in the 17th century once again be dressed with its own tailor-made artwork.

The oil-on-canvas mural was done in three parts, later joined. Rosamaría describes the painting as “a history of the Franciscans,” with Saint Francis standing in the center, his hands and feet showing the wounds of the Christ he so wanted to be like, as well as kneeling on each side, on the left before the crucified Christ of San Damiano in Italy and on the right with the elements of nature: a bird, an orange tree, the moon, water and fire. At the left of the top panel are Clarician nuns of the Franciscan order who, like Hermano Pedro, gaze upward at the imagery of the Holy Trinity. “People expect God the Father to be gray-haired,” smiles Rosamaría, “but I wanted Him to look younger, so I painted brown hair.” The cross signifies the Son, the dove the Holy Spirit.

In the lower panel, the artist brings faith, hope and love to present day reality, even in trying times. Featured are a light-haired Virgin Mary and four priests, Fray Augusto Ramírez M., Fray Tomás Savaleta, Fray Cosme Espesotto and Fray Tulio Maruzzo, representative of the many who were martyred in Central America during the 1980s, 29 in Guatemala alone. In the mural, as in life, they stand with the indigenous people, mostly women wearing huipiles from 10 different places.

What was the hardest part of the mural? “The beginning!” Rosamaría answers without a doubt. Then, thoughtfully, gazing at her own work, she says, “Painting a mural is like reading a good book. You want to know how it ends, but you don’t want it to be over.” •

The artist will open a still life show on August 3 at the Museo Nacional de Arte Moderno Carlos Mérida (Edificio #6, La Aurora, Zona 13), Guatemala City. Open until August 22nd.