This is one of the most successful of this painter´s many known Immaculate Conceptions, thanks to its serenity and exquisite beauty. His inventive capacity is continually visible in the vast repertoire of variations he brings to his treatment of a single religious subject. The symbols of the Marian litany are always present, but the angels´ heads are never the same, nor do their groups have the same number. The Virgin´s silhouette appears amidst hurricane-force winds that allow the artist to fully exercise his imagination in the composition of her clothing. The effect is astonishingly dynamic and markedly baroque in its impetus. The Virgin´s face is distinguished and distant. Her self-absorption and the pointed or spindle-shaped profiles which, in a way, denote the artist´s admiration for Cano, are distinctive characteristics of his most personal style. The beauty of the freely painted flowers, gleaming silver and deliberate blurring reflects his fascination with Velázquez. This work was probably painted around 1665, which is the year that appears on one of Antolínez´s other Immaculate Conceptions at the Museo del Prado (P002443).