Imaginería De Las Californias Our Project Investigates the Origin, Produc- Tion, and Distribution of Imaginería
Discovering our past through Mission sculpture
Smithsonian Center for Materials Research and Education Imaginería de Las Californias Our project investigates the origin, produc- tion, and distribution of imaginería. These are the painted wooden sculptural representations of the Catholic religion made during three centuries of the Spanish colonial period in New Spain (early 16th to early 19th centuries). We are focusing on the sculptures that are in the California missions. However, to fully define and to study imaginería, it is necessary to expand our work area, disregard present borders, and consider as one the whole area which today is the southwest United States and northern states of Mexico. Until 1540, Las Californias was the name given to this unexplored area; after this date explorers began to travel and name the new lands of the Spanish northern fron- tier. This is why we have chosen the name Imaginería de Las Californias. Historical boundaries of Las Californias. Inset: present day state of Our findings will not only will broaden California and state of Chihuahua. and deepen our knowledge and understanding of this sculptural art, they will contribute to fuller understanding of the encounters of Spanish and native people on the northwestern frontiers of New Spain. We will also further understanding of communication and transportation routes, and the economy of the Spanish colonial period. This project is built upon the Smithsonian Center for Materials Research and Education’s sustained strength in the technical studies of cultural materials, and our collaboration with historic document specialists. The investigation draws upon both the humanities and physical sciences through combined historical documentary research, art historical characterization and analysis of techniques, materials and manufacturing relationships. Our work will define the patterned variation within the imaginería. But most importantly, our work will broaden and deepen our knowledge and understanding of encounters of the Spanish and native people on the northwestern frontiers of New Spain. In the end, we will have a fuller understanding of the living traditions of an area that is now important to the people of both the United States and Mexico.
Lambertus van Zelst Historical Director, Smithsonian Center for Materials Research and Education Timeline for Missions in Marriage Pope Fray Pedro of Isabela Alexander Construc- de Gante New Spain de Castilla gives Spain Juan Tenochtitlan tion of first founds &Fernando Cristobal most of Ponce de Moctezuma falls, Painter church in First Construc- Arte y event: Political de Aragon Colón New World León is Hernan dies, Cuahutemoc Rodriguez continental missonaries tion of the Oficio, Mission unifies arrives in to spread first to Cortez Cuitalhuac dies, Aztec Cifuentes America: (Franciscans) San indian Art Historical northern the West Catholic land at arrives in dies of Empire arrives in San José de arrive in Francisco school for California Missions Spain Indies faith Florida New Spain measles ends Mexico Tlatenango Mexico convent craft Art Style Mannerism Plateresco Spanish ruler Isabela (d.1504) Fernando 1517 Carlos I Project Goals Using visual characterization, technical analyses, and fo- cused historical research, our investigation will address the following questions. What is the origin of the California imagenería? If these were created in California, were the sculptures created by missionaries or trained native artisans? Were they made more as an individual effort, or as part of a workshop environment? If they are from Mexico, can we identify the schools, gremio (guild) workshop, or artist for those California mis- sion sculptures? If they were made in the frontier missions, how were the workshops established and organized? What were the patronage and commercial networks which transported these objects to the Californias?
Our results will contribute to public awareness of the colo- nial period history of Califor- San Luis Rey de Francia, Mission San Luis Rey, nia as part of Las Californias Oceanside, California. Late 18th century. This and Mexico. We intend to as- life-sized sculpture is of the patron saint of the mission. semble for web-based distri- bution an inventory of the sculptures in the California missions that is linked to other examined sculptures and project’s technical and descrip- tive data base. We will also provide new curricula materials for primary and secondary school courses on mission-related aspects of California and Las Californias history. Using a combination of technical analysis, historiography, and sty- listic analysis, is it possible to put an end to the anonymous period of the colonial sculptures. Clearly, in some cases, we will never know the names of the artists or the local history of a specific sculptural creation. How- ever, through our integrated program of investigation, we will provide new understanding of the historical, social, political, and economic con- text of imagenería production, distribution, and use.
Inmaculada Concepción, Mission San Jeronimo (Huetotitan, Chihuahua), late 17th or early 18th century. M-CH 033.001.E03
Cabeza de Bishop Pope and Colorado Juan Juan de Vizcaino Vaca land Zumarraga the King New Spain River Rodríguez Juan Discovery Oñate expedition expedition letter visit New named a reached Cabrillo Tolósa of mineral expedition maps First 1528–1536 describes Spain; Viceroyalty, First print by expedition Real y discovers Zacatecas deposits in claims California Mission in covers Cuba, art work many Antonio de made in Francisco navigates Pontificia minerals in founded, Santa New coastline, Chihua- Florida,Texas, of indians, convents & Mendoza New Spain Vásquez the Universidad Sombrerete Aguas- Barbara, Mexico as names hua: San Northwest- naming churches named by Juan de California de Mexico and calientes Indé, frontier for Monterey Pablo de ern Mexico artisans are built Viceroy Pablos Coronado coast founded Chalihuitles founded Cuencamé New Spain & others Tepehuanes Baroco
1556 Felipe II 1598 Felipe III Project Research Summary We are integrating extensive visual characteriza- They were so well done that it was stipulated in tion, documentary history, technical analysis and the colonial Ordenanzas (guild laws) in Mexico comparison of a large number of California sculp- City and the large towns that the Spanish were tures to reveal new aspects of our history and the prohibited from reselling indian made sculptures. history of New Spain, especially the area of Las We will produce new information about Californias. Our work will contribute to the knowl- the Spanish colonization, about the transporta- edge of colonial imaginería, by tion of goods and communica- determining the origin of the tion by land and sea during that California Mission sculptures. period, and about the mission- This period of the 16th through ary systems and the formation of 18th centuries includes artistic what are now great cities. In ad- styles ranging from the late re- dition, more will be learned naissance and mannerist about economic aspects of the through baroque and neoclassi- conquest and inter-cultural ex- cism. These influences–and in- change, and possible movement digenous influences–from the of native people accompanying simplest to the most complex the missionaries. The New Spain renderings, can all be found in conquest was furthered by the imaginería. expansion of the Catholic reli- Much work has been gion in the new territory, and done by art historians on this imaginería were the symbol of topic. Indeed, many scholars the new faith. Some of them have devoted their careers to were made by excellent guild Mission San Antonio (Guazárachi, these objects. Greater value has Balleza). A beautiful example of the early masters, others by apprentices, been assigned to the “good missions still existing in Mexico. some simply for financial gain, hand” and to the more complex and some by native people wish- compositions, rarely are those of less skilled pro- ing to have a devotional image. The sculptures duction studied. But even fewer studies have been provided a means to help convey a religion and undertaken that attempt to characterize the artist’s lifestyle and were originally constructed for spe- methods, materials and construction. In this case, cific religious purposes. But in colonial New Spain, the sculptures represent the transmission of tra- religion permeated virtually all aspects of life. Thus ditional knowledge from a trained artist to a stu- the systematic study of imaginería promises to be dent from a markedly different cultural back- of great importance in shedding light on the fun- ground. Once the craft was well learned, however, damental aspects of the colonial encounter in what trained indians made sculptures technically as would become the southwest United States and well-executed as those of the Spanish artisans. northwest Mexico.
First Viceroy Churriger- Oñate is Separa- Father Kino expedition licenses esco style Jesuits tried in tion of Kino founds Presidio to Baja Salvatierra Mission brought Tepozotlan expelled Mission San Diego Mexico for Church arrives in Mission Santa Fe California & Kino to Loreto to Mexico Convent from San Juan founded abuses of and State Sonora Dolores in founded in by establish founded in Alburquer- by altar- Spain and Bautista by the in New Pimeria Pimeria New Francisco California Baja que Jerónimo pieces are the founded in Junipero indians Spain Alta Alta Mexico Itamarra missions California founded de Balbas made Colonies Baja Serra Baroco Rico Exuberente Churrigeresco 1621 Felipe IV 1665 Carlos II 1700 Felipe V 1746 Fernando VI 1759 Angel con Nubes (Angel over clouds), mid-18th century. Mission San Luis Rey (Oceanside, California). C-SLR.E05
The materials and methods used to create the sculptures are the el- ements that form a physical record. And in a manner analogous to that of a written document, we can read, understand, and translate this physical record. Our microscopic examination, documentation, and subsequent comparison and differentiation of the sculptures will result in the description of stylistic differences, schools of manu- facture, materials and techniques, and more. While the number of imagenería is finite, the interrelationships are many, complex and not yet fully understood. Imagenería were created over a large and varied geographic area, over the course of more than two centuries, by people with a variety of skills and purposes. The relationships between materials and production histories are based upon cultural influences, temporal groupings, stylistic elements, method and ma- terials of fabrication, and so on. Only technological analysis can es- tablish the materials and methods of fabrication, and when inte- grated with the other research components, indicate relationships and subsets within the broad group of imagenería. From imagenería selected through the visual characteriza- tion, small samples of paint, textiles, and wood will be removed for microscopic and chemical analysis at SCMRE. Our microscopic examination of paint cross-sections will be used to study the specific technology, production steps, and paint sequences used in the creation of the sculptures. In addition, our chemical analysis will identify the different pigments, binders, var- nishes and dyes used, with attention given to the possible “recipes” of paint. Textile and wood analysis specialists will identify the major components of the statues and seek to relate them to available resources in the study area.
Many missions are in use for centuries. Recent Good Friday services at Basíhuare (Guachochi, Chihuahua).
First art schools: Miguel USA Jerónimo Tolsá Mission declares Antonio arrives in Carlos Mission indepen- Mission Gill & Royal Mexico: Borromeo Mission Mission San Pablo Mission Mission dence Mission Mission San Academy Mission Mission Neoclassi- del San San founded in San Luis San from San Juan Santa Buena- of San Santa Purisima cism Carmelo Gabriel Antonio Baja Obispo Francisco England Capistrano Clara ventura Carlos Barbara Concepción begins Neoclassicism
Carlos III 1788 Technical Studies Through visual characterization, connois- technique. Binders and pigments will be identified seurship, and individual histories of the sculptures by using a variety of microscopic and instrumental that are available, the imagenería can be related in methods such as gas chromatography and x-ray many ways. However, it is the microscopy and diffraction. chemical analysis of the decorated layers that is Microanalysis requires that samples be critical for characterizing a sculpture. These removed from the statues on site. For full cross- methods provide more objective means of sectional characterization, a sample will be taken accessing its technological relationship to the from a non-eroded area approximately 2mm by larger group of statues from Las Californias. New 2mm, through all the decorative layers, and into relationships among the sculptures will undoubt- the wood substrate. Our site work includes full edly be revealed, leading to the recognition of documentation of the condition. We have individual artists or schools. systematically photographed the sculptures, and Understanding the complex relationships many details of design and decoration. We are among sculptures will rely heavily upon the using these images as part of a visual database microscopy of decorative and preparatory layers. which can be used to help establish relationships. Paints and varnishes (especially pre– and early We expect that the information we gather industrial types) bear distinctive traces of their will be used by school children and other students, method of manufacture and application. Analyti- as well as scholars. As work proceeds, the images cal chemistry can–with considerable certainty– and data collected are added to a searchable identify the individual paint components. How- database. The data and the images (including ever, the methods of fabrication will become microscopy images and chemical analysis) can be known only through microscopy of the paint shared with other researchers, and is planned as an layers. Analysis of type and number of coats of internet– ready tool. In this way, we can share our preparatory layers, decorative layers, metal leaf information, and look forward to contributions and powder, and varnish will complete a profile of from colleagues outside SCMRE.
Analysis of architecural elements will provide a valuble reference. These are dated and have not moved from their original site. At left, Santa Maria de Cuevas (Belizario Dominguez, Chihuahua), founded 1672. Middle, ceiling, completed and signed in 1700. Right, one panel removed for sampling.
Don Thomas Miguel Jefferson Don Hidalgo y Mission Mission Sculpture completes Miguel Costilla Mission San Santa Mission of Carlos Louisiana Hidalgo gives the Mission San Fernando Catarina San Luis III by Purchase Napoleon abolishes Grito de Mission La Mission San Juan Miguel Mission Rey de founded in Rey de Miguel from Mission invades slavery in Independen- Soledad Santa Cruz Bautista Arcángel San José España Baja Francia Tolsá France Santa Inés Spain Mexico cia Neoclassicism
carlos iv 1808 Felipe VII 02 Hair Niño 04 Pink dark Túnica Niño 14 Long hair back Wood+ground +black Hair 01 ground+bole+gold wood+ground Wood+ground+black 06 Niño neck +pink dark +black Wood+ground+pink orig? Pink flower cuello 09 07 Pink Cuello Niño ground+gold+pink ground+bole+gold+ W02 pink dark wood Nuestra Señora de Loreto, Blue cuello 08 03 Pink Manto Niño Metropolitan Cathedral of ground+blue ground+bole+gold+ 15 Gold Chihuahua (originally from pink light & pink dark Túnica Back Jesuit Colegio) early 18th wood+ century. The photos illustrate Red+Gold túnica10 05 Gold Tunica niño ground+ all ground+bole+ Wood+ground+bole bole+gold sample locations where wood, gold+red +gold textile and paint have been Pink flower back 12 removed for study. Paint sample ground+gold?+pink & White Red túnica 11 13 is from the back of the ground+gold+red Black Line 17 sculpture, and is shown in the ground+gold+black details below. T02 textile 16 White pink túnica ground+ gold+ Blue Manto 13 white & T01 Wood+cloth?+ground Pink Detail of sample 13 location; each Base W01Base +gold+blue sample location is photographed textile wood and cataloged. (Circle is 10 mm 18 Gold Base Ground+bole+gold in diameter, samples typically 2mm.) Cross section of sample 13, magnified 200x. Images such as this will help determine materials and sequences of fabrication. The techniques here is estofado, where the entire surface is covered with gold leaf. Then it was overpainted, and some areas removed to reveal the gold. white glaze red glaze blue glaze gold leaf
Pigment and preparatory layer particles, magnified Paint layer cross section, 400x. Chemical analysis magnified 200x. Layers and will define materials techniques become visible. used, such as red dye, and red and black decorative paint layers pigment of decorative layer. Inert fillers in the preparation layers preparatory layers will likely be distinctive.
Iturbide Treaty of declares Spain Spanish, Republic Guadalupe Mexican cedes Mexican including Texas of Texas Hidalgo: indepen- Iturbide Florida to Mission Guadalupe Federal mission- declares declared, Texas, New dence, pro- USA, which Solano Victoria Constitu- aries, indepen- includes Mexican- Mexico, Mission gives”Plan claimed relinquishes founded- first tion expelled dence southwest Texas American Arizona & California San Rafael de Iguala” Emperor all claims the last in President estab- from from lands to becomes War California becomes Arcángel to Viceroy of Mexico on Texas California of Mexico lished California Mexico California a state begins to USA a state
1833 front cover: Mission Santo Angel Custudio de Satevo in Batopilas, Chichuahua.
above: View from the main door of the mission.
SCMRE Principal Investigators: Karla Muñoz Alcocer & Mel Wachowiak
Smithsonian Center for Materials Research and Education