Vice Royalty of Per 15441824

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Vice
Royalty of New Spain 1535-1821 Modern day
Mexico, Guatemala, Honduras, Nicaragua, Costa
Rica, Caribbean Islands, the U.S. Gulf coast
including Florida, southern Alabama, Mississippi,
Louisiana, Texas, New Mexico, Arizona, and
southern California Until 1776 Caribbean
coastal regions of Colombia and Venezuela
Vice Royalty of
Perú 1544-1824 Originally comprising all
Spanish South America except the Caribbean
coast Vice Royalty of New Granada
1717-1819 modern day Ecuador,
Colombia, Panama, and Venezuela Vice Royalty
of La Plata 1776-1816 Modern day
Argentina, Uruguay, Paraguay and Bolivia
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New Spain - when established in 1535, included
modern-day Mexico and other regions. Peru -
initially, in 1542, comprising all of South
America except Brazil.
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Spanish Catholic church enormous power
over the lives of the European and indigenous
peoples through its patronage, profoundly
influenced the nature of the visual arts

• Emergence of local artistic differences due to
• indigenous survivals (Aztec, Maya, and Inca
  empires)
• the Manila Galleon trade

Woman's Mantle (Lliclla) (17th century or
later)Central AndeanTapestry-woven camelid
wool 35 1/2 x 43 4/8
Kero Cup 17th18th centuryPeruWood with
pigmented resin inlay H. 7 3/4 in.
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ArrivalEvangelization Schools (elite) and
Workshops Some incorporation of native
techniques Franciscan evangelizers v. noble
Aztecs, Mexico "feather mosaic" (arte plumario
in Spanish, amantecayotl in Nahuatl) using
hummingbird feathers from the Yucatán
Triptych (Sacring Tablet) Institution of the
Sacrament of the Lord's Supper, 16th
centuryMexicanFeathers and colored paper laid
down on wood, in gilt wood frame Wings 19 x 6
1/4 in. Center 19 x 12 1/2 in.
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Pendant Triptych (with Scenes of the Passion),
16th centuryMexicanBoxwood, feathers, gold,
enamel 1 3/4 x 1 3/4 in.
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Pendant of a Rosary with Memento Mori, 16th
centuryMexican or FlemishSilver gilt, rock
crystal H. 6 1/2 in.
Pendant, 16th centuryProbably MexicoCrystal,
enamel, gold, pearls, boxwood 1 3/8 x 1 in.
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The Manila Galleon brought porcelain, silk,
ivory, spices, and other exotic goods from China
to Mexico in exchange for New World silver. On
the return leg, the precious Asian wares traveled
across the Pacific, via the Philippines
(colonized by Spain in the late sixteenth
century), to Acapulco on Mexico's west coast.
They then crossed Mexico overland for shipment to
Spain. However, much of the porcelain and carved
ivory remained in the Americas and, in many
cases, influenced artists working there Mexican
ceramics display the impact of the Galleon trade
most vividly.
Puebla (Talavera de Puebla, Mexico)
Double Gourd-Shaped Bottle (Botellón), late 17th
centuryTin-enameled earthenware H. 7 1/4 in.
Jar (Tibor), probably 18th centuryTin-enameled
earthenware H. 14 1/2 in.
Chinese-inspired - shape and lobed medallions.
Puebla ceramics - floral sprays and ornamental
bands encircling the foot and neck
local Pueblan aborronado pattern - individual
dots spread out to form foliate designs
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Plate with Standard-Bearer, ca.
1670PueblaTin-enameled earthenware Diam. 8 5/8
in.
Basin (Lebrillo) with Lacework Pattern, ca.
1650Mexican (Puebla)Tin-glazed earthenware
decorated in cobalt strapwork with lace
patterning in manganese Diam. 20 3/4 in.
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Imagenes freestanding images of Christ,
saints, and the Holy Family At times dressed in
actual clothes and adorned with donated
jewels. at times, garments carved and painted to
simulate cloth estofado (after the word estofa,
meaning a type of quilted silk) involved the
layering of gold or silver leaf over a gesso
base, followed by an overlay of oil paint or a
translucent glaze. In some regions, the paint was
scratched through in a pattern to show the
metallic surface below. In others, the lustrous
surface was overlaid with painted gold patterns.
This production reflected the division of labor
developed in Europe, with specialized guilds
assigned to the carving of the wood, others to
the gilding and polychromy. The selection and
aging of the wood was an art in itself. Although
guild regulations attempted to exclude Indians
from working in these specialties, evidence
shows that such rules were widely disregarded.
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Manila Galleon route
Philippine/Sino-Hispanic
export to Spain and the Americas
Philippine/Sino-Hispanic
Estofado technique
Chinese ivory carvers in the Philippines and on
the mainland
Mater Dolorosa 18th centuryWood with pigments,
gilding, ivory, and silver
Virgin of the Immaculate Conception, 18th
centuryIvory, partly polychromed and gilded,
with glass eyes and silver halo H. 10 in.
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Ecuadorian polychromy applying gold patterns
over the colored backgrounds rather than
scratching them through, as in true estofado
Manila Galleon route
Nativity Scene 18th centuryEcuadoran, with
Hispano-Philippine ivory insertsBodies of wood,
polychromed and gilded faces and shoulders,
ivory touched up with polychromy H. 7 3/4 in.
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Manila Galleon route
Elements of Asian style Mary and Joseph robes
(importation of Chinese silk) their faces,
especially the Virgin's pure oval countenance
and heavy-lidded eyes, recall the features of
Hispano-Philippine ivory carvings.
Guatemala - excels in estofado
Nativity Group with Angel, 18th
centuryGuatemalanWood, polychromed and gilded,
with glass eyes and silver-gilt halos H. 20 in
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Based on the original Virgin of Quito by Legarda
in Chruch of San Francisco, Quito
Virgin of Quito, second half of 18th
centuryEcuadoran (Quito) Based on the original
Virgin of Quito by Legarda in Chruch of San
franciscoWood, polychromed and gilded H. 8 1/2
in.
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Flattening and patterning
Sebastián Salcedo Our Lady of Guadalupe Mexico
City, 1779 brought to Santa Fe, New Mexico
around 1800 to hang in the new adobe church of
Our Lady of Guadalupe.
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Shell, C- scroll
Flickering flames
S-scroll
rocaille
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The framer used a painting style meant to imitate
'japanning' a type of lacquer-work employing red
or red-orange background color with flora and
fauna painted over it, similar to the colors
used on Japanese screens and furniture.
Joseph holds his flowering staff, symbolizing
his choice by God to be Mary's husband.
ST. JOSEPH AND THE VIRGIN MARY, a pair of
paintings Mexico, late 17th - early 18th century
Oil on canvas St. Joseph, 19 x 14 Virgin Mary,
18 x 14 gilded and polychrome frames, overall
dimensions 30 x 26
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biombo
Garden Party on the Terrace of a Country Home,
oil on wood, about 1730, artist unknown, Mexico.
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Perú
Virgin of the Rosary of Guápulo ca. 1680Peruvian
(Cuzco)Oil on canvas 67 x 43
Iconic images Statue painting replicating the
altar context, rigid frontal pose, and ornamented
pyramidal robe
crowned and dressed in lavish garments and
adorned with precious materials on a side altar
of the parish church
miracle-working cult figure blending of
Pre-Columbian custom (lavishing precious textiles
on ritual objects) and evangelizers goals and
visual taste (Virgin and the indigenous
earth-mother goddess Pachamama)
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Our Lady of Pomata 1700-1750 Cuzco, Peru
26 x 21 in
iconic image statue painting
Depicted as a statue on an altar - rigid frontal
pose, and ornamented pyramidal robe
crowned and dressed in lavish garments and
adorned with precious materials on a side altar
of the parish church
Pearls were among the sensational finds of the
Spanish in the New World, and swags of them,
caught with huge rosettes, adorn the figure.
She stands on an altar, covered with white
lace-trimmed cloth, whose red drapery trimmed in
gold has been opened for worship. Two angels hold
the drapery, while three others appear at her
feet. A nun and a monk flank the altar, their
hands clasped in prayer.
Virgin of Pomata with St. Nicholas Tolentino and
St. Rose of Lima, Peru, 1700-1750. Oil on
canvas, 26 x 21 in.
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Bolivia
Cuzco gold stamping technique exclusive to The
town, the surrounding region and Bolivia
Luis Niño Our Lady of the Victory of Málaga,
1735
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Ignacio Chacón Madonna and Child with
Bird Cuzco, Peru 1745 to 1777 Inca iconography
sacred birds
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Saint Joseph and the Christ Child, late
17th-18th century. Peru, Oil on canvas, 43 x 32
1/8in.
Christ Child with Passion Symbols, late 17th
century. Peru, Oil on canvas, 39 1/8 x 31 3/4
in.
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Cuzco, Peru Archangels- warriors or messengers of
peace
Based on European prints but with local costumes
with layers of lace and cuffs
Archangel Gabriellate 17th CenturyOil on canvas
canvas size 45 x 35
St Michael weighs the souls, 18th cent.
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Melchor Perez de Holguin mestizo
painter in Potosi
Bolivia
SAN CRISTOBAL
La Sagrada Familia   Oleo sobre lienzo  1717  
119 x  84,5 cm.
Oil on Canvas CA 1715
57.2 x 38.5 in.
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Melchor Perez de Holguin
Saint Matthew the Evangelist1724
Saint Michael Archangel1708
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European-inspired designs, exemplified by the
scrolling foliage, often sprouting leafy winged
creatures in a distinctive Andean style
Frieze Fragment (possibly from an altar), 18th
centuryBolivianSilver 7 x 25 in.
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CORONATION OF THE VIRGIN Quito, Ecuador, 18th
Century One interior view of a pair of
bas-relief ivory carvings in semi-spheres, the
other depicting the Assumption of the Virgin
Diameter 2 2/3 inches (7 cm)
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The combination of the Native American and
Moorish decorative influences with an extremely
expressive interpretation of the Churrigueresque
idiom may account for the full-bodied and varied
character of the Baroque in the American and
Asian colonies of Spain. Even more than its
Spanish counterpart, American Baroque developed
as a style of stucco decoration Twin-towered
façades of many American cathedrals of the 17th
century had medieval roots The full-fledged
Baroque did not appear until 1664, when a Jesuit
shrine on Plaza des Armas in Cuzco was built.
Even then, the new style hardly affected the
structure of churches.
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Church of San Francisco de Lima, Peru b. after
1656-1673
Altarpiece portal - 1664
Stone and quincha
Portuguese architect Constantino de Vasconcellos
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Claudio de Arciniega and Juan Miguel de Agüero
Mexico City Cathedral 1573 to 1813.
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coat of arms of Mexico
Peter and Paul between the columns of the portal
Andrew and James on the secondary doorway
high relief of the Assumption of the Virgin Mary
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Right-hand or east portal
Left-hand or west portal on main facade
High relief "The ship of the Church sailing the
seas of Eternity
high relief depicting Jesus handing the keys of
the Church to Saint Peter
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The façade of the church of Ss. Sebastian y Santa
Prisca, Taxco, Mexico bristles with Mexican
Churrigueresque ornamentation.
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The Main Altarpiece of the church of Ss.
Sebastian y Santa Prisca, Taxco
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Church of the Company of Jesus (Arequipa, Perú).
Detail of the façade  Unknown architect 17th
cent.
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The colonial cathedral, Cuzco, Peru. Consecrated
in 1654, it was built on the site of the Inca
palace of Viracocha (Huiracocha), which had
suffered extensive damage in an earthquake in
1650.
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Church of the Company of Jesus 1605
18th cent. Quito, Ecuador 6
Salomonic columns
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Interior of the Chapel of the Rosary, Puebla,
México.
1724-31
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La catedral de Ayaviri, Puno, Peru