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 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 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.Ítem Acceso Abierto Gallery 8: The Blessed Anchorites of Cuzco(PESSCA, 2014-02-19) Ojeda, Almerindo E.An anchorite or eremite is an individual who chooses to withdraw from society in order to lead a life focused on prayer, penance, and religious study. In the West, anchoritic life was common during the Early and High Middle Ages, and was the forerunner of Christian monastic life (although only in 1983 did Pope John Paul II lay down the norms for anchoritic or eremitic life to count as a form of consecrated Catholic life on a par with the lives led by monks and nuns of religious orders). Images of anchorites abound in Christian art, including the variant that took root in the farflung territories of the Spanish Empire. A little known depiction of anchorites (and anchoresses, their female counterparts) is provided by the eighteen paintings that were once displayed at the Claustro del Noviciado, Convento de la Recoleta, Cuzco, Peru. Unfortunately, seismic damage to the walls of this cloister forced the removal of these paintings from public view at the novitiate and their relocation to undisclosed grounds, where they remain safe and secure. As far as we can tell, the paintings of the anchorites of Cuzco was photographed professionally for the first time in 2009 by a PESSCA team headed by Daniel Giannoni and supported by the Catholic University of Peru (PUCP). The pictures resulting from this joint effort appear in this website for the first time (together with our heartfelt thanks to both Daniel and to the PUCP). Notice of the existence of these paintings was served in Estabridis (1989), where the paintings in question were placed in indirect correspondence with the Oraculum Anachoreticum—a series of engravings of anchorites made by Johan Sadeler I and Raphael Sadeler I at the end of the 16th century and published in Venice in 1600 (a digital version of this work can be found in the Portuguese National Library, as Gustavo Vives pointed out to me). Beyond this, Estabridis argued that the Cuzco anchorites could be placed in direct correspondence with an engraved copy of the Oraculum Anachoreticum made in Paris early in the 17th century. One of these copies was discovered by Estabridis himself in the Peruvian National Library; another one can be found in the Biblioteka Zgromadzenia Księży Misjonarzy w Krakowie. The title page of this publication has been reproduced above. The pioneering work of Estabridis led us beyond the Oraculum Anachoreticum to other series of anchorites engraved by the Sadelers. They are the Solitudo Sive Vitae Patrem Eremicolarum, and the Trophaeum Vitae Solitariae. Both of these series served as additional sources, direct or indirect, of the anchorites of Cuzco. But our research also led us beyond the Sadelers to the Collaerts, whose Solitudo Sive Vitae Foeminarum Anachoritarum could well provide the direct sources of the paintings of the anachoresses of the Cuzco series. The designs for all of these series come from Maarten de Vos—probably from information found in the Legenda Aurea of Jacobus de Voragine and in the Vitae Sanctorum of Laurentius Surius (cf. The Illustrated Bartsch, Volume 70, Part 2 (Supplement), Page 169). Following the navigation panel below will lead the visitor to all of these discoveries. We have been able to place fifteen of the eighteen paintings of the blessed anchorites of Cuzco in correspondence with their engraved sources. But the sources of the remaining three paintings still elude us. They are the depictions of John the Baptist, Mary Magdalen, and Mary the Egyptian. We present these unsourced paintings below in the hopes that some future visitor to this gallery will be able to pinpoint the engravings that served as their models—and will be willing to share their discovery with the rest of us.Ítem Acceso Abierto Gallery 7: The Life of Saint Rose of Lima (The Ocopa Series)(PESSCA, 2014-02-19) Ojeda, Almerindo E.Huamanga stone is an opaque, ivory-colored stone that abounds in the area of Huamanga, Peru. Known also as Peruvian alabaster, it was carved since pre-Columbian times, as it is said to be so soft that it can be cut, when wet, with an ordinary knife. In Colonial times, it was used both for sculptures and for reliefs, often grouped in series like the one exhibited in this gallery (Banco de Crédito del Perú 1999, 313-324). In 1671, Pope Clement X canonized Isabel Flores de Oliva as Saint Rose of Lima. A few years later, Flemish engraver Cornelis Galle II (1615-1678) produced fifteen engravings on the life of the saint. These engravings were subsequently used to illustrate a book on the life of Saint Rose. The volume, authored by the Jesuit cleric Juan del Valle, must have crossed the Atlantic, reaching an anonymous Huamanga stone carver, who produced a remarkable series of colored carvings in the second quarter of the 18th century (Soria 1948, 258). Originally, the series consisted of fourteen carvings. Some of them were stolen, however, from their repository--the Convent of Ocopa, Junin, Peru--in 2008. Fortunately, all of the pieces were photographed before they were stolen. Copies of these photographs, together with those of their engraved sources, are now gathered in this gallery. The series by Galle also inspired a later series of Huamanga stone carvings (Mujica Pinilla 2001, 50). Produced between 1820-1830, in the waning years of the Colonial period, this series of carvings is currently in Lima, in the Sanctuary of Saint Rose. See Lima 1998, cat. 17-45. To visit this gallery, follow the navigation panel below throughout this website. To move through the gallery, click on the down-arrow; to retrace your steps, click on the up-arrow.Ítem Acceso Abierto Gallery 6: The Life of Saint Teresa of Avila (Santiago Series)(PESSCA, 2014-02-19) Ojeda, Almerindo E.Adriaen Collaert (c.1560-1618) and Cornelis I Galle (1576-1650) designed a series of twenty four engravings on the life of Saint Teresa de Avila (see Gallery 5). This series served as the basis for two series of paintings on the life of the Saint currently in the Convento del Carmen San José (Carmen Alto) in Santiago, Chile. They are known as the Large Series and the Short Series on the Life of Saint Teresa (see Mebold 1987, 54-108). The Large Series on the Life of Saint Teresa consists of thirteen paintings, each measuring two meters in height by two and a half in width. The Small Series on the life of the Saint consists of twenty paintings, each measuring 1.22 meters of height by 1.63 meters of width. Both series were produced by an unknown member of the Cuzco School of painting. Apparently, he was a follower of José Espinoza de los Monteros, the author of the Cuzco series on the life of Saint Teresa featured in Gallery 5. The Large Series was produced around 1690 and the Small Series around 1694 (see Mebold 1987, loc. cit.). To visit this gallery, follow the navigation panel below throughout this website. To move through the gallery, click on the down-arrow; to retrace your steps, click on the up-arrow.Ítem Acceso Abierto Gallery 5: The Life of Saint Teresa of Avila (Cuzco Series)(PESSCA, 2014-02-19) Ojeda, Almerindo E.Adriaen Collaert (c.1560-1618) and Cornelis Galle I (1576-1650) designed a series of twenty four engravings on the life of Saint Teresa de Avila. This series, plus the title plate above, was published in Antwerp in 1613, undergoing multiple editions in 1622 and, supposedly in 1677 as well (Diels, Leesberg and Balis 2006, Part IV, 246). The series of Collaert and Galle served as the basis of a series of sixteen paintings executed by José Espinoza de los Monteros en 1682 (Mebold 1987, 55). These paintings hang now in the Church of the Carmelite Convent in Cuzco, Peru. They are displayed on the nave of the church, eight per side. The last painting of the series bears the signature shown below (Mesa and Gisbert 1982, 92f). HAEC Spinosa breui pensilo signa Colorat anno 1682 (Spinosa colors the images in this small pendant in the year 1682). We have collected in this gallery the correspondences between the Collaert-Galle series and the set of paintings by José Espinoza de los Monteros. To visit this gallery, follow the navigation panel below throughout this website. To move through the gallery, click on the down-arrow; to retrace your steps, click on the up-arrow.Ítem Acceso Abierto Gallery 4: The Zodiac Series(PESSCA, 2014-02-19) Ojeda, Almerindo E.In 1585, one of the members of the Sadeler family of printers and engravers published a set of twelve engravings by Adriaen Collaert after designs by Hans Bol. These engravings were introduced by a title page which described them as "gospel emblems of the twelve celestial signs, set according to the months of the year." The title page went on to explain that "Christ gave man the celestial bodies so that he could discern through them the evolution of time begun in God (acc. to Gen. I), revoke idolatry, and arrive, through these creations, at the worship of a single Creator, setting his sights on the mystical kingdom of the heavens." The twelve emblemata engraved by Collaert were painted by Diego Quispe Tito in Cuzco in 1681 (Mesa and Gisbert 1982, I, 157). Unfortunately, the current whereabouts of three of these paintings—Taurus, Gemini, Virgo—are unknown. The engraved sources of the missing paintings are shown below in the hopes that they might lead us to their painted descendants. The paintings authored by Quispe Tito constitute the only known example of an American series of colonial paintings that is based on the signs of the Zodiac. Probably this was due to the association of the Zodiac to pagan cults that the Catholic Church was seeking to extirpate in the Americas (Mesa and Gisbert 1982, I, 157). Indeed, in his Tesoros verdaderos de las Indias (1682), the religious chronicler Juan Meléndez warned us that en Indias […] suele suceder que se vuelve a los ídolos, y a sus ritos y ceremonias antiguas […] y asi se tiene mandado, que no sólo en las iglesias, sino en ninguna parte, ni pública ni secreta de los pueblos de los Indios, se pinte el sol, la luna, ni las estrellas por quitarles la ocasión de volver (como está dicho) a sus antiguos delirios y disparates (Tord 1989, 181f). We have collected in this gallery the correspondences between the series by Collaert and the group of paintings by Diego Quispe Tito. To visit this gallery, follow the navigation panel below throughout this website. Click on the down-arrows to move through the gallery; to retrace your steps, click on the up-arrows.Ítem Acceso Abierto Gallery 3: Bolswert in Lima: The Series on the Life of Saint Augustine by Basilio Pacheco(PESSCA, 2014-02-19) Ojeda, Almerindo E.Schelte à Bolswert and Cornelis Galle produced a series of engravings on the Life of Saint Augustine which served as models for a set of paintings by Miguel de Santiago (see Gallery 2). But they also served as the basis for another group of paintings on the life of the saint. This was the series produced by Basilio Pacheco and his workshop between 1742 and 1746 (Vargas 1956, 142; Courcelle and Courcelle 1972, Volume III, Chapter VII; Mesa and Gisbert 1982, I, 202f). It should be borne in mind, though, that neither the series of Miguel de Santiago nor the one by Basilio Pacheco could have relied exclusively on the series by Bolswert and Galle, as the latter did not consist of enough engravings. It is generally believed that the series produced under the direction of Pacheco was originally intended for the Augustinian convent in Cuzco, but had to be moved to its counterpart in Lima after 1835, when the convent in Cuzco was demolished following a crushing earthquake (Wethey 1949, 298; Mesa and Gisbert 1962, 149; Courcelle and Courcelle 1972, Volume III, 101). But the paintings fit exactly into the spaces in the Lima cloister, thus suggesting that Lima could have been the original location (see MacCormack 2010). Perhaps the most original painting in the series by Pacheco is the last one, which shows a self-portrait of Basilio Pacheco kneeling at the funereal procession of Saint Augustine--a procession that led the remains of the saint, not to the Cathedral of Hippo, as history has recorded, but to the Cathedral of Cuzco instead (see figure above). As Mesa and Gisbert (1982, I, 202f) would have it, this painting is one of the masterpieces of the Cuzco school of painting. And the series as a whole is one that presents us with a painter who has reached the apex of his creative powers, has mastered draftsmanship and technique, and does not flinch at the large number of canvases he had to produce. PESSCA wishes to thank Brunella Scavia and Daniel Giannoni for providing us with the images of the paintings of this gallery. At the time of first writing, the paintings had been recently restored and remained in storage at the Convent in Lima. We have collected in this gallery the correspondences between the Bolswert-Galle series and the set of paintings by Basilio Pacheco. To visit this gallery, follow the navigation panel below throughout this website. Click on the down-arrows to move through the gallery; to retrace your steps, click on the up-arrows.