Josefa Sanromán
(Santa María de los Lagos, Jalisco, 1829 – Mexico City, 1889)
Untitled (Still Life), 1858
Oil on canvas
Kaluz Collection
Josefa Sanromán, one of the most prominent Mexican painters of the 19th century, uniquely embodies the notion of abundance that was so prevalent in the still lifes of Romanticism, especially those influenced by the revival of Rococo.
The artist fills this canvas with rich textures, where flowers spill over from the French garden vase that holds them. Although the rose takes center stage, the dahlia makes a singular appearance, standing out among the roses and competing in vibrancy. This highlights the Mexican character of still lifes, as dahlias are embedded in pre-Hispanic traditions.
The inclusion of fruits native to tropical and temperate regions, such as the mango, also underscores the American origin of this piece, distinguishing it from the dominance of European canons.
José Agustín Arrieta
(Tlaxcala, 1803 – Puebla, 1874)
Portrait of Josefa María Sanz, 19th c.
Oil on canvas
Kaluz Collection
The renowned painter of Pueblan genre painting depicts the young Josefa María Sanz González, born in 1856 in Mexico City and orphaned at just one year old. As a result, the Dean of the Mexico City Cathedral took her in, making her the sole heir to a significant family fortune.
The vibrant chromatic palette and floral abundance stand in contrast to the black veil, the only visible trace of her orphanhood. Surrounding her is a dynamic vegetal universe, spilling over onto the floor, curtain, mirror, perfume bottles, and vase. Within the vase, protected under a glass dome, rests the cornucopia—both the source and the embodiment of abundance, and one of the most enduring symbols of prosperity in art history.
Unknown author
Bouquet with glass cover represented in Portrait of Josefa María Sanz
el Retrato de Josefa María Sanz, undated
Crystal and porcelain
Kaluz Collection
The cornucopia vase is a unique piece, preserved alongside the painting by the subject’s descendants for generations. The hand holding the cornucopia is the left one, an unusual feature in similar porcelain pieces. Enhancing its rarity, the vase features a trompe-l'œil floral design that seamlessly blends with the bouquet, composed of flowers and wheat stalks crafted from fabric and velvet.
The origins of the vase and how it came into Josefa María Sanz’s possession remain a mystery. What is certain, however, is that Arrieta recognized its value and distinctiveness, choosing to immortalize it alongside its owner—symbolizing that childhood, like the cornucopia, holds the promise of a fertile future.
Alfredo Ramos Martínez
(Monterrey, 1871 – Los Angeles, USA, 1946)
Mariquita on flowers, 1930
Oil on canvas
Kaluz Collection
Seated on a balcony and enveloped in an atmosphere of floral exuberance and vibrant color, Ramos Martínez portrays the subject adorned in traditional Spanish attire—a comb, a fan, and a shawl. The woman is May C. Healy, wife of Martin James Healy, one of the partners of Hotel Playa Ensenada in Baja California, for which Ramos Martínez was commissioned to create a series of works in 1930.
The selection of white-toned flowers stands out in this painting. The artist places two slender iris blooms prominently in the lower-left corner, alongside a camellia bush peeking from the upper-left. On the opposite side, cascading wisteria with its delicate white blossoms balances the composition. Yet, the true floral centerpiece is the peony, China’s most iconic flower, which appears on both sides of the canvas and is woven into the three splendid Manila shawls.
Vicente Gandía
(Valencia, Spain, 1935 – Cuernavaca, 2009)
South Facade with Flowers, 1989
Acrylic on canvas
Colección Kaluz
This majestic canvas captures the eternally spring-like light of Cuernavaca, where this Spanish exile painter lived until his final days.
The vase on the table unfolds like a fan, radiating its floral energy in all directions. The flowers, spaced apart, allow air to flow between them, emphasizing the distinct morphology of each bloom.
Unlike other painters, Gandía does not depict flowers as isolated elements; they remain intrinsically connected to the garden from which they emerge—an inexhaustible source of inspiration. The lilies, daisies, irises, and calla lilies in the composition cannot exist apart from the garden’s lush abundance. Their presence also fills the silent absences in the painting, such as the quiet void suggested by the vacant yellow chair.
Pelegrín Clave
(Barcelona, Spain, 1811 – 1880)
Untitled (Portrait of a Lady), undated
Oil on canvas
Kaluz Collection
A leading portraitist of the Mexican aristocracy in the mid-19th century, Clavé portrays a young woman whose distant gaze, languid arms, half-shadowed face, and romantic attire embody the introspective nature of melancholy—an affectation highly esteemed by the intellectual elite of the time. In her right hand, she holds the quintessential flower of remembrance: the pansy.
This flower was immensely popular in 19th-century England, becoming one of the most beloved blooms. In floriography—the coded language of flowers developed during the Victorian era—each flower had a secret meaning. The pansy symbolized “I’m thinking of you,” “I have thoughts of you,” or “I miss you.”
Associated with secret love, the pansy appears not only in the floral arrangement within the vase but also in the lady’s earrings, forming a subtle yet deliberate triangular composition that underscores its significance.
Joy Laville
(Isla de Wight, Inglaterra, 1923 – Cuernava, 2018)
House with cupola tours, 1987
Oil on canvas
Kaluz Collection
To truly see Laville’s work—an essential name in late 20th-century Mexican painting—one must adjust their vision, much like stepping into bright sunlight and momentarily being blinded by its brilliance. Gradually, the details emerge: two figures suspended on the horizon within an expanse of blue, their steps crossing the field of color. Patience is an essential component of her painting.
In her unmistakable style, characterized by synthetic figuration, the artist emphasizes two vegetal elements in the foreground. As in many of her works, plants and flowers, sometimes arranged in vases, are indispensable. Though they appear minimal–merely two small, sparsely leafed plants–their absence would profoundly transform the painting’s perception. Their presence signifies something fundamental: wherever they exist, so does the possibility of life.