Via Spiritus : Revista de História da Espiritualidade e do Sentimento Religioso, 2010
This article studies the Passion series of New Spanish painter José de Alcíbar (active 1751-1803)... more This article studies the Passion series of New Spanish painter José de Alcíbar (active 1751-1803), which is now preserved in the Museo de Arte Sacro, Chihuahua, Mexico. Signed and dated in 1776, the series is constituted of 14 large canvases. However, from an inventory of 1801 of the goods belonging to the parish church of Chihuahua (now the cathedral), it is believed this series originally had 15 canvases, and was hung in the nave of the church. The series is quite singular for different reasons. First of all, in the less glorious moment of the city was the series patronized to one of the most famous painter in the Viceroyalty. Also, the iconography of the paintings is quite complex. Although one canvas seems to be missing from the original series, all of the remaining canvases have two, and sometimes three, secondary scenes. The purpose of the article is to analyze this important series and try to understand how it functioned from the inside and the outside: how it should be read ...
Resumen Este ensayo analiza cinco series de pintura realizadas en Nueva España en el transcurso d... more Resumen Este ensayo analiza cinco series de pintura realizadas en Nueva España en el transcurso del siglo XVIII por diferentes pintores y en diversas regiones del virreinato. Todas representan las estaciones del Vía Crucis, conjugando de diversas maneras dos géneros plásticos: la pintura con la escultura. El propósito de este trabajo es estudiar de qué manera los dos géneros artísticos interactúan en las representaciones de los sucesos del Vía Crucis para ofrecer una reflexión sobre cómo la práctica de la devoción se vio afectada por este cambio de medio. Palabras claves: Vía Crucis, interactuación pintura y escultura, Nueva España. Abstract This essay analyses five series of painting of different painters of the eighteenth century in diverse regions of the vice-royalty of New Spain. They all illustrate the stations of the Way of the Cross, conjugating two artistic expressions: painting and sculpture. The article considers the different modes in which the painted representations int...
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and... more This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and t...
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and... more This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and t...
Anales del Instituto de Investigaciones Estéticas, 2020
El texto presenta un cuadro novohispano firmado por Antonio Enríquez, pintor activo a mediados de... more El texto presenta un cuadro novohispano firmado por Antonio Enríquez, pintor activo a mediados del siglo XVIII en la ciudad de Guadalajara. El lienzo de grandes dimensiones pertenece a la colección del Museo Regional de Guadalajara, pero hasta hace poco se guardaba en la bodega, seccionado en dos, olvidado por los especialistas del campo y el público en general. El propósito de esta nota es dar a conocer el cuadro y su iconografía, proporcionando también datos sobre el pintor que la realizó y su posible mecenas. Actualmente la obra está siendo intervenida por la Escuela de Conservación y Restauración de Occidente con el propósito de exhibirla al público.
This essay overviews how Canadian museums and universities have historically accessioned Latin Am... more This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and di...
Anales del Instituto de Investigaciones Estéticas, 2015
En la segunda mitad del siglo xvii una indígena donó una escultura de Jesús Nazareno a la iglesia... more En la segunda mitad del siglo xvii una indígena donó una escultura de Jesús Nazareno a la iglesia del Hospital de la Concepción de Nuestra Señora de la ciudad de México. A los pocos años, el culto adquirió proporciones mayores, a tal punto que el nombre del hospital cambió por el de Hospital de Jesús, con el cual todavía se le conoce. A medida que el culto del Nazareno fue creciendo, también lo hizo el fenómeno de las "copias", en el cual una efigie, por el respeto y devoción que había adquirido, se transformaba en "modelo" a seguir. El propósito de esta noticia es dar a conocer un cuadro novohispano, conservado en el St. Charles Borromeo Seminary, en Wynnewood, Pensilvania, y explicar porqué se cree que dicha pintura es un retrato pintado de esta devota escultura.
Anales del Instituto de Investigaciones Estéticas, 2012
El presente trabajo tiene como objetivo llamar la atención sobre un importante conjunto de pintur... more El presente trabajo tiene como objetivo llamar la atención sobre un importante conjunto de pinturas novohispanas de temática pasionaria cuya fuente la constituyen los grabados de la obra del jesuita Jerónimo Nadal (1507-1580) y proponer una hipótesis en cuanto a su circulación. Muchas de estas composiciones forman parte de una serie narrativa, pero el retablo lateral de la parroquia de Nuestra Señora de los Dolores de Xaltocán es el único caso donde se establece un ciclo narrativo completo a partir de las Imágenes de Nadal. En cada uno de estos ejemplos se aprovecha de manera diferente la estampa utilizada, por lo que también se quiere examinar cómo el pintor anónimo de Xaltocán seleccionó y transformó los grabados consultados.
Este artículo estudia un ciclo pasionario firmado y fechado en 1744 por el afamado pintor novohis... more Este artículo estudia un ciclo pasionario firmado y fechado en 1744 por el afamado pintor novohispano José de Ibarra. El conjunto de 15 lienzos, ahora en una colección particular, no había sido catalogado dentro de la producción pictórica conocida del maestro. La serie fue adquirida por un exitoso mercader español activo en el puerto de Veracruz en la segunda mitad del siglo XVIII. El ciclo ilustra consideraciones de transferencias culturales en el mundo hispano de aquella época y levanta cuestionamientos en relación a los modelos globales de comunicación y de intercambio. La serie se analiza aquí desde varias perspectivas transatlánticas, incluyendo la apropiación por parte del pintor novohispano de fuentes grabadas flamencas e italianas.
The study of Passion imagery in the New World is located at the crossroads of artistic expression... more The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesus, such as in cases of the Christ of Ixmiquilpan in colonial Mexico or the Christ of the Earthquakes, in Cusco, Peru. Generic Passion images became specific cult images due to their miracles, which were particularly important in the Americas as part of the evangelization process and the preservation of the colonial political order. The indigenous populations of America were in many occasions intertwined in these stories around images of Christ. Soon after the conquest, indigenous people also became manufacturers of these images. Passion imagery is found in the form of painting, sculpture, engraving, and architecture, becoming, in certain cases, Gesamtkunstwerk, or total works of art, since buildings and their interiors make use of many art forms under a unifying concept related to the Passion of Christ, such as sanctuaries dedicated to Jesus or architectural renditions of the Way of the Cross.
Este ensayo analiza cinco series de pintura realizadas en Nueva Espana en el transcurso del siglo... more Este ensayo analiza cinco series de pintura realizadas en Nueva Espana en el transcurso del siglo XVIII por diferentes pintores y en diversas regiones del virreinato. Todas representan las estaciones del Via Crucis, conjugando de diversas maneras dos generos plasticos: la pintura con la escultura. El proposito de este trabajo es estudiar de que manera los dos generos artisticos interactuan en las representaciones de los sucesos del Via Crucis para ofrecer una reflexion sobre como la practica de la devocion se vio afectada por este cambio de medio. ----------------------------------------------------------------------------- This essay analyses five series of painting of different painters of the eighteenth century in diverse regions of the viceroyalty of New Spain. They all illustrate the stations of the Way of the Cross, conjugating two artistic expressions: painting and sculpture. The article considers the different modes in which the painted representations interplay with sculptu...
The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex ... more The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex period of development in the Spanish colonies of Latin America that reverberates throughout the region’s visual culture [...]
The study of Passion imagery in the New World is located at the crossroads of artistic expression... more The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesu...
Via Spiritus : Revista de História da Espiritualidade e do Sentimento Religioso, 2010
This article studies the Passion series of New Spanish painter José de Alcíbar (active 1751-1803)... more This article studies the Passion series of New Spanish painter José de Alcíbar (active 1751-1803), which is now preserved in the Museo de Arte Sacro, Chihuahua, Mexico. Signed and dated in 1776, the series is constituted of 14 large canvases. However, from an inventory of 1801 of the goods belonging to the parish church of Chihuahua (now the cathedral), it is believed this series originally had 15 canvases, and was hung in the nave of the church. The series is quite singular for different reasons. First of all, in the less glorious moment of the city was the series patronized to one of the most famous painter in the Viceroyalty. Also, the iconography of the paintings is quite complex. Although one canvas seems to be missing from the original series, all of the remaining canvases have two, and sometimes three, secondary scenes. The purpose of the article is to analyze this important series and try to understand how it functioned from the inside and the outside: how it should be read ...
Resumen Este ensayo analiza cinco series de pintura realizadas en Nueva España en el transcurso d... more Resumen Este ensayo analiza cinco series de pintura realizadas en Nueva España en el transcurso del siglo XVIII por diferentes pintores y en diversas regiones del virreinato. Todas representan las estaciones del Vía Crucis, conjugando de diversas maneras dos géneros plásticos: la pintura con la escultura. El propósito de este trabajo es estudiar de qué manera los dos géneros artísticos interactúan en las representaciones de los sucesos del Vía Crucis para ofrecer una reflexión sobre cómo la práctica de la devoción se vio afectada por este cambio de medio. Palabras claves: Vía Crucis, interactuación pintura y escultura, Nueva España. Abstract This essay analyses five series of painting of different painters of the eighteenth century in diverse regions of the vice-royalty of New Spain. They all illustrate the stations of the Way of the Cross, conjugating two artistic expressions: painting and sculpture. The article considers the different modes in which the painted representations int...
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and... more This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and t...
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and... more This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and t...
Anales del Instituto de Investigaciones Estéticas, 2020
El texto presenta un cuadro novohispano firmado por Antonio Enríquez, pintor activo a mediados de... more El texto presenta un cuadro novohispano firmado por Antonio Enríquez, pintor activo a mediados del siglo XVIII en la ciudad de Guadalajara. El lienzo de grandes dimensiones pertenece a la colección del Museo Regional de Guadalajara, pero hasta hace poco se guardaba en la bodega, seccionado en dos, olvidado por los especialistas del campo y el público en general. El propósito de esta nota es dar a conocer el cuadro y su iconografía, proporcionando también datos sobre el pintor que la realizó y su posible mecenas. Actualmente la obra está siendo intervenida por la Escuela de Conservación y Restauración de Occidente con el propósito de exhibirla al público.
This essay overviews how Canadian museums and universities have historically accessioned Latin Am... more This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and di...
Anales del Instituto de Investigaciones Estéticas, 2015
En la segunda mitad del siglo xvii una indígena donó una escultura de Jesús Nazareno a la iglesia... more En la segunda mitad del siglo xvii una indígena donó una escultura de Jesús Nazareno a la iglesia del Hospital de la Concepción de Nuestra Señora de la ciudad de México. A los pocos años, el culto adquirió proporciones mayores, a tal punto que el nombre del hospital cambió por el de Hospital de Jesús, con el cual todavía se le conoce. A medida que el culto del Nazareno fue creciendo, también lo hizo el fenómeno de las "copias", en el cual una efigie, por el respeto y devoción que había adquirido, se transformaba en "modelo" a seguir. El propósito de esta noticia es dar a conocer un cuadro novohispano, conservado en el St. Charles Borromeo Seminary, en Wynnewood, Pensilvania, y explicar porqué se cree que dicha pintura es un retrato pintado de esta devota escultura.
Anales del Instituto de Investigaciones Estéticas, 2012
El presente trabajo tiene como objetivo llamar la atención sobre un importante conjunto de pintur... more El presente trabajo tiene como objetivo llamar la atención sobre un importante conjunto de pinturas novohispanas de temática pasionaria cuya fuente la constituyen los grabados de la obra del jesuita Jerónimo Nadal (1507-1580) y proponer una hipótesis en cuanto a su circulación. Muchas de estas composiciones forman parte de una serie narrativa, pero el retablo lateral de la parroquia de Nuestra Señora de los Dolores de Xaltocán es el único caso donde se establece un ciclo narrativo completo a partir de las Imágenes de Nadal. En cada uno de estos ejemplos se aprovecha de manera diferente la estampa utilizada, por lo que también se quiere examinar cómo el pintor anónimo de Xaltocán seleccionó y transformó los grabados consultados.
Este artículo estudia un ciclo pasionario firmado y fechado en 1744 por el afamado pintor novohis... more Este artículo estudia un ciclo pasionario firmado y fechado en 1744 por el afamado pintor novohispano José de Ibarra. El conjunto de 15 lienzos, ahora en una colección particular, no había sido catalogado dentro de la producción pictórica conocida del maestro. La serie fue adquirida por un exitoso mercader español activo en el puerto de Veracruz en la segunda mitad del siglo XVIII. El ciclo ilustra consideraciones de transferencias culturales en el mundo hispano de aquella época y levanta cuestionamientos en relación a los modelos globales de comunicación y de intercambio. La serie se analiza aquí desde varias perspectivas transatlánticas, incluyendo la apropiación por parte del pintor novohispano de fuentes grabadas flamencas e italianas.
The study of Passion imagery in the New World is located at the crossroads of artistic expression... more The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesus, such as in cases of the Christ of Ixmiquilpan in colonial Mexico or the Christ of the Earthquakes, in Cusco, Peru. Generic Passion images became specific cult images due to their miracles, which were particularly important in the Americas as part of the evangelization process and the preservation of the colonial political order. The indigenous populations of America were in many occasions intertwined in these stories around images of Christ. Soon after the conquest, indigenous people also became manufacturers of these images. Passion imagery is found in the form of painting, sculpture, engraving, and architecture, becoming, in certain cases, Gesamtkunstwerk, or total works of art, since buildings and their interiors make use of many art forms under a unifying concept related to the Passion of Christ, such as sanctuaries dedicated to Jesus or architectural renditions of the Way of the Cross.
Este ensayo analiza cinco series de pintura realizadas en Nueva Espana en el transcurso del siglo... more Este ensayo analiza cinco series de pintura realizadas en Nueva Espana en el transcurso del siglo XVIII por diferentes pintores y en diversas regiones del virreinato. Todas representan las estaciones del Via Crucis, conjugando de diversas maneras dos generos plasticos: la pintura con la escultura. El proposito de este trabajo es estudiar de que manera los dos generos artisticos interactuan en las representaciones de los sucesos del Via Crucis para ofrecer una reflexion sobre como la practica de la devocion se vio afectada por este cambio de medio. ----------------------------------------------------------------------------- This essay analyses five series of painting of different painters of the eighteenth century in diverse regions of the viceroyalty of New Spain. They all illustrate the stations of the Way of the Cross, conjugating two artistic expressions: painting and sculpture. The article considers the different modes in which the painted representations interplay with sculptu...
The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex ... more The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex period of development in the Spanish colonies of Latin America that reverberates throughout the region’s visual culture [...]
The study of Passion imagery in the New World is located at the crossroads of artistic expression... more The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesu...
El Vía Crucis es el recorrido de Cristo hacia el Monte Calvario cargado de su cruz. La recreación... more El Vía Crucis es el recorrido de Cristo hacia el Monte Calvario cargado de su cruz. La recreación de este camino tenía como propósito recordar a los fieles los últimos momentos de la vida de Cristo y su significado. En la ciudad de México, a finales del siglo XVII, se construyeron capillas del Vía Crucis a modo de peregrinaje de sustitución, pues los viajes a Tierra Santa suponían varias dificultades. A través de una reconstrucción visual y documental, "Las capillas del Vía Crucis de la ciudad de México", tiene por objetivo recrear el contexto en que nacieron, existieron y desaparecieron estas edificaciones, cubriendo desde finales del siglo XVII hasta mediados del siglo XIX. Este libro contribuye a un mejor entendimiento no sólo de la devoción, sino del patrocinio del Vía Crucis en Nueva España, pues examina la labor de la tercera orden de San Francisco como actor fundamental para este ejercicio piadoso en la ciudad de México.
Antonio Rubial, Reseña de Las capillas del Vía Crucis de la ciudad de México, Historia Mexicana (... more Antonio Rubial, Reseña de Las capillas del Vía Crucis de la ciudad de México, Historia Mexicana (El Colegio de México), vol. 66, num. 4 (264), April-June 2017, pp. 2156-2161
Hugo Arciniega, Las capillas del Vía Crucis de la ciudad de México, Academia XXII (Facultad de Ar... more Hugo Arciniega, Las capillas del Vía Crucis de la ciudad de México, Academia XXII (Facultad de Arquitectura, UNAM), vol. 7, num. 14, August 2016-January 2017, pp. 151- 155
Kelly Donahue-Wallace, Book Review of Las capillas del Vía Crucis de la ciudad de México, Revista... more Kelly Donahue-Wallace, Book Review of Las capillas del Vía Crucis de la ciudad de México, Revista canadiense de estudios hispánicos, vol. 39, num. 3, 2015, pp. 739-74
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A través de una reconstrucción visual y documental, "Las capillas del Vía Crucis de la ciudad de México", tiene por objetivo recrear el contexto en que nacieron, existieron y desaparecieron estas edificaciones, cubriendo desde finales del siglo XVII hasta mediados del siglo XIX. Este libro contribuye a un mejor entendimiento no sólo de la devoción, sino del patrocinio del Vía Crucis en Nueva España, pues examina la labor de la tercera orden de San Francisco como actor fundamental para este ejercicio piadoso en la ciudad de México.