Proyecto Fuentes Grabadas del Arte Colonial (PESSCA)
URI permanente para esta comunidadhttp://54.81.141.168/handle/123456789/124094
El Project on the Engraved Sources of Spanish Colonial Art (PESSCA) busca documentar el efecto de los grabados europeos en el arte colonial hispanoamericano. Para lograr su propósito, PESSCA ofrece el emparejamiento de obras de arte colonial, junto con las obras originales europeas que sirvieron de modelos. Se ofrecen más de 6500 emparejamientos.
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Ítem Acceso Abierto Gallery 12: The Celestial Dome of El Sagrario de Quito(PESSCA, 2014) Ojeda, Almerindo E.Unaided by optical instrumentation and guided solely by common sense, early watchers of the heavens concluded that the Earth stood at the center of a spherical universe, and that the Sun, the Moon, and the planets rotated about the Earth in perfectly circular orbits. The celestial bodies completing their revolutions about the Earth faster would be closer to it, while those taking longer would be farther away. Thus, the Moon would be the closest of the celestial bodies, followed, in turn, by Mercury, Venus, the Sun, Mars, Jupiter, and Saturn. The orbits of these luminaries defined seven nested spheres which were enclosed within an eighth—the sphere of the fixed stars, known also as The Firmament. It was furthermore believed that celestial bodies affected the course of events in all of the spheres nested within their orbits. Thus the Earth, being within the sublunar world , was affected, not just by the Moon, but by all the other celestial bodies as well.Ítem Acceso Abierto Archivo de Pessca(PESSCA, 2014-04-07) Ojeda, Almerindo E.Proyecto sobre las Fuentes Grabadas del Arte Colonial Español (PESSCA), que busca documentar cómo las impresiones y grabados europeos influyeron en el arte colonial español.Ítem Texto completo enlazado The Print in the Painting(PESSCA, 2014-02-20) Ojeda, Almerindo E.Podemos ver que las impresiones se incrustaron a las paredes de interiores domésticos o monásticos, sirviendo como ayudas a la piedad privada y como testigos de ella. https://artecolonial.pucp.edu.pe/essays/the-print-in-the-painting-1/the-print-in-the-paintingÍtem Texto completo enlazado The Spanish Empire Through Time (Maps)(PESSCA, 2014-02-20) Ojeda, Almerindo E.El imperio español a través del tiempo http://upload.wikimedia.org/wikipedia/commons/d/d8/Spanish_Empire_Anachronous_en.svgÍtem Texto completo enlazado What is a Correspondence?(PESSCA, 2014-02-20) Ojeda, Almerindo E.Diremos que dos obras de arte forman una correspondencia si una de ellas es la base, el modelo o el prototipo de la otra. La mayoría de las correspondencias en este proyecto consistirán en un grabado europeo y una pieza colonial española. http://colonialart.pucp.edu.pe/essays/what-is-a-correspondence/index.htmlÍtem Texto completo enlazado El Grabado Como Fuente del Arte Colonial: Estado de la Cuestión(PESSCA, 2014-02-20) Ojeda, Almerindo E.Proyecto sobre las Fuentes Grabadas del Arte Colonial Español (PESSCA), que busca documentar cómo las impresiones y grabados europeos influyeron en el arte colonial español.Ítem Texto completo enlazado The Organization of the PESSCA Archive(PESSCA, 2014-02-20) Ojeda, Almerindo E.El Archivo PESSCA es una colección de imágenes digitales de obras de arte coloniales españolas y el arte gráfico que las inspiró. http://colonialart.pucp.edu.pe/essays/the-organization-of-the-pessca-archive/index.htmlÍtem Acceso Abierto Gallery 11: The Remarkable Apostles of Göz - Klauber - Rodríguez(PESSCA, 2014-02-19) Ojeda, Almerindo E.It was late in the 18th century that Bernardo Rodríguez painted a remarkable series of Apostles in Quito, Ecuador. In all certainty, this series was based on a set of engravings done in the workshop led by Johann Baptist and Joseph Sebastian Klauber in Augsburg, Germany. And these engravings were in turn based on a series of drawings conceived by Gottfried Bernhard Göz, who was probably working specifically for the Klauber workshop in Augsburg [1]. This creative sequence can be fully traced in the case of the apostle Mathias (see above). The series of Rodríguez consists of fourteen paintings—those of Christ, Andrew, James the Greater, Thomas, Bartholomew, Jude Thaddaeus, Mark, Simon, Mathias, Paul, John, Philip, James the Lesser, and Luke. Conspicuously absent from this list are the portraits of Peter and Matthew. Could it be that Rodríguez failed to paint them? This is all but inconceivable; Peter was the first of the apostles, the representative of Christ on Earth, and the visible head of the Church. And the importance of Matthew—the first of the Evangelists—had to be second only to that of Peter. So it is far more likely that Rodríguez completed the paintings of Peter and Matthew, and that these paintings have been lost, stolen, overpainted, damaged, or destroyed. Fortunately, the engravings on which these paintings would have been based have survived. They are shown below in the hopes that the Rodríguez masterpieces can be imagined today and recovered tomorrow. The Göz-Klauber series contains also a depiction of the Virgin as Queen of the Apostles (see below). Rodríguez is not known to have made a corresponding painting of this subject The visitor is hereby invited to view the entire series of Göz-Klauber-Rodríguez apostles by following the navigation panel below. Clicking on the downward arrows will lead the visitors forward; clicking on the upward arrows will allow them to retrace their steps. The paintings themselves can all be found in Quito, Ecuador. The painting of James the Greater is kept at the Museo Pedro Gocial and all the others are housed at the Museo del Carmen Alto [2]. [1] The Göz drawing reproduced above was taken from Eduard Isphording, Gottfried Bernhard Göz, 1708-1774. Ölgemälde und Zeichnungen. Vol. II, Weissenhorn 1984, ill. 266. [2] PESSCA wishes to thank Peter Stoll (Augsburg University Library) as well as Edeltraud Prestel and Ursula Korber (Staats- und Stadtbibliothek Augsburg) for their help with the research and the materials presented in this gallery.Ítem Acceso Abierto Gallery 10: Las Sibilas del Palacio de Minería(PESSCA, 2014-02-19) Ojeda, Almerindo E.Mexico City's elegant Palacio de Minería houses a remarkable series of portraits of the Twelve Sibyls of Antiquity. These portraits were painted by don Pedro Sandoval in the second half of the 18th century. Prophets of pagan antiquity, the sibyls were appropriated by early Christianity, which claimed they were in fact prophesizing the mysteries of the Christian faith to the pagans. Consequently, they were the female counterparts to the Biblical prophets, who were charged with prophesizing to Jews rather than to Gentiles. As to the source of their prophetic gifts, Saint Jerome attributed it simply to the sibyls' virginity. To the ten sibyls known during the Middle Ages, two were added in the 15th century, thus arriving at the twelve that have been recognized ever since. According to Sebastián (1982), the Sibyls of the Palacio de Minería derive from the woodcuts illustrating the Oraculos de las Doce Sibilas, Profetas de Christo N[uest]ro Señor entre los Gentiles, a book authored by Baltasar Porreño and published in Cuenca, Spain, by Domingo de la Iglesia in 1621 (see also Sebastián 1985, 411f; Sebastián 1992). The author of the woodcuts was probably one P. de Torres, who is mentioned in the cover of the book in connection with the woodblocks. Be that as it may, the woodcuts in Porreño's book are these. Although Sebastián traces the Sibyls in the Palacio de Minería to these woodcuts, he also acknowledges that this hypothesis raises several problems. The first is that some of Sandoval's paintings are reversed mirror images of the woodcuts; the second is the woodcuts are notably coarser than the paintings they are supposed to inspire. To these two problems we must add a mystery: Sandoval signs only one of his twelve portraits—that of the Egyptian Sibyl. Why only this one? But Porreño's is hardly the only series of engraved sibyls. In fact, there are quite a few such series. One of them is by Jacques Granthomme II (ca. 1560 - ca. 1613) and Jacob van der Heyden (1573-1645). The series by Granthomme and van der Heyden was based on the celebrated series engraved by Crispyn de Passe I (c.1565-1637) in 1601, and was published in Paris around 1607, during their second stay in that city. Arguably, this is the true source of the series of Sibyls in the Palacio de Minería. Take for instance the issue of the reversed images. None of the images in the Palacio de Minería is reversed relative to the Granthomme/van der Heyden series. They are reversed, however, relative to almost half of Porreño's images (those of the Delphic, Eritrean, Cumaean, Cumanan, and European sibyls). In addition, there are many small discrepancies between the two series of engravings. In all of them, the Sandoval paintings invariably agree with Granthomme and van der Heyden, not with Porreño (the texts that accompany the prints of Granthomme/van der Heyden and Porreño are identical). The discrepancies are as follows: (a) the vertical bands in the frontis of the dress of the Eritrean, (b) the ornaments in the collar and (c) the confection of the shoulder pads in the Cumaean, (d) the left ring finger under the middle finger and (e) the ornament over the turban for the Samian, (f) the third braid of the Cumanan, (g) the separation of the pointing and the middle fingers in the left hand of the Lybian, (h) the cross borne by the Persian, (i) the unadorned lapel, (j) the elevated gaze, and (k) the attachment of the leaves to the branches with stems for the Frygian, (l) the direction of the Tiburtian's gaze, (m) the confection of the sleeve of the European and, possibly, (n) the Egyptian's gaze towards the viewer. In addition, as a glance at the images above will reveal, the engravings by Granthomme and van der Heyden are much finer than those in Porreño's book. They would therefore make for a more fitting source for Sandoval's fine paintings. Finally, deriving the paintings from Granthomme and Heyden rather than from Porreño solves the mystery of the Egyptian Sybil. For, this is the last of the Granthomme and van der Heyden series while only the ninth of Porreño's. Consequently, Sandoval signed only his portrait of the Egyptian Sibyl because it was the last one. Following the navigation panel below will lead the visitor through the correspondences of this gallery.Ítem Acceso Abierto Gallery 9: The Blessed Anchorites of Puebla(PESSCA, 2014-02-19) Ojeda, Almerindo E.Maarten de Vos (1532-1603) was a prodigious Flemish draftsman whose alluring Mannerist designs were engraved by the hundreds in Northern Europe. Once engraved, these drawings traveled throughout the Spanish empire, serving as models for very many works of art. So many, in fact, that his impact on Spanish Colonial art is considered to be second only to that of Rubens. At the end of the 16th century Maarten de Vos produced more than a hundred drawings of anchorites--men and women who chose to withdraw from society in order to lead a life focused on prayer, penance, and religious study (see Gallery 8: The Blessed Anchorites of Cuzco). These drawings must have been immensely popular in their day, as they were quickly engraved in Antwerp and in Venice by three of the leading engravers of the time—Johan Sadeler I, Raphael Sadeler I, and Adriaen Collaert. These engravings were then engraved again, this time in reverse, and published in Paris by Thomas de Leu, Jean Leclerc IV, and Jacques Honervogt early in the 17th century. They were also published in Paris chez Daumont, rue Saint Martin. And in Venice by Giovanni Merlo, an engraver and publisher about whom little else is known. It was probably one of the Paris editions of the de Vos anchorites that served as the direct sources for eleven paintings currently at the Museum of the University of Puebla and one in the Francisco J. Ysita del Hoyo Collection. These twelve paintings—plus one we will talk about below—are what we have called The Series of the Blessed Anchorites of Puebla. Formerly attributed to Diego de Borgraf, the Flemish painter who emigrated to Puebla, the author of this 17th century series of paintings is now considered anonymous. Recently, the series of the Blessed Anchorites of Puebla was the object of an important study by Fernando E. Rodríguez-Miaja (see Rodríguez-Miaja 2001). This study succeeded in identifying the indirect sources of all the paintings of the anchorites in the series—namely the engravings by the Sadelers mentioned above. But the Sadeler engravings are reversed relative to the paintings. This suggests that the direct sources of the poblano paintings of the anchorites were not the engravings of the Sadelers, but only engravings based on them. And, of all the re-engravings mentioned above, there is but one that contains the images found in all of the paintings. It is the set published by Jean Leclerc IV [1]. It is therefore likely that it was this set that served as the direct source of our paintings. Jean Leclerc IV (ca. 1560-1633) was an engraver and publisher that worked at a workshop located in Paris, rue Saint Jean de Latran, under the sign of the Royal Salamander. It was there that he published the engravings of the anchorites in the first third of the 17th century. He published these engravings in a series of volumes which bore the same titles as the ones in which the Sadelers published their own renditions of the designs invented by Maarten de Vos. One of these volumes was the Trophaeum Vita Solitariae, whose title page we have reproduced above. Another was the Solitudo Sive Vitae Partrum Eremicolarum. A third was the Monumenta Anachoretarum (sometimes referred to as Sylvae Sacrae). The title pages of the latter two volumes are shown below. In addition to proposing direct sources for all of the poblano paintings of the anchorites, the correspondences found in this gallery will correctly identify the subject matter of one of the paintings of the series (Saints Euthymius and Theoctistus), locate the whereabouts of a second (Saint Helenus), and identify the engraved source of a third (Saint Onuphrius) [2]. In addition, they will place the thirteenth painting of this series—a Temptation of Christ—in correspondence with one of the engravings of the Evangelicae Historiae Imagines (see Gallery 1). It should perhaps be added that a painting of the temptations of Christ fits within a series of anchorites because, as Rodríguez-Miaja pointed out, this temptation took place when Christ withdrew to the desert as an anchorite in order to pray for forty days and forty nights. Following the navigation panel below will lead the visitor through the correspondences of this gallery. 1. At least according to the copies catalogued in Bartsch 1978-Present 70(2)(Supplement) and (71)(1)(Supplement). The reversed copy of Saint Helenus in the Newberry Library of Chicago was published by Jean Leclerc IV (See item ZX 639 .L462 at the Newberry Library). 2. The painting of Saint Onuphrius was not among the ones Mr. Rodríguez-Miaja was able to study. Fortunately, this painting is now in view at the Museum of the University of Puebla. It was there that we were able to study it in 2010. PESSCA is indebted to Denise Beck Garreaud and Marcela Corvera Poiré for the support they provided to the research that led to the installation of this gallery.