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Precisiones Iconográficas Sobre Algunas Pinturas De La Colección

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Precisiones Iconográficas Sobre Algunas Pinturas De La Colección Precisiones iconográficas sobre algunas pinturas de la colección del Museo de América, basadas en el estudio de la joyería Letizia Arbeteta Mira representada Museo de América. Madrid Iconographic study of paintings in the Museo de América collection, based on an analisys of jewellery depicted Resumen Key words: Museo de América, colonial painting, caste painting, portraits, Mexico, Los estudios sobre pintura, al describir Peru, Quito, Cuzco, Miguel Cabrera, cada obra, pocas veces prestan atención Andrés de Islas, José de Páez, Ramón a las joyas, que aparecen reproducidas Torres, Vicente Albán, goldsmithing, como un elemento más. Este trabajo, ana- Spanish and American jewellery, icono- liza parte de la colección de pintura del graphy, history of fashion. Museo de América de Madrid, ofreciendo una aproximación al mundo de la joyería virreinal española, sus modelos y crono- I. Introducción logía en relación con sus posibles fuentes europeas. De esta forma, se aportan datos La colección de pintura virreinal del Aunque "colonial" es el adjetivo usado general- que pueden servir para una datación más Museo de América comprende algo mente, el concepto de "colonia" no parece ante- precisa de las pinturas y su identificación menos de trescientas obras, de tema reli- rior al siglo XVIII, definiéndose tradicionalmente iconográfica, al tiempo que se publica un gioso en su mayor parte, ya que los retra- como "reinos" los territorios americanos de la material de trabajo básico para el conoci- tos apenas alcanzan un mínimo porcenta- miento de la joyería en la América hispa- je. Los aspectos básicos de casi la totali- Corona Española. na durante la presencia espariola. dad de este conjunto han sido estudia- 2 Principalmente por nuestra compañera M' dos1 y recogidos en numerosas publica- Concepción Garcia Saiz, quien ofrece abundante Pa I a bras clave: Museo de América, pin- ciones, al menos en lo que respecta a las bibliografia sobre el tema, parte de la cual se ha tura pintura de castas, retrato, obras firmadas y fechadas, o aquellas que consultado. Para este trabajo nos basamos en su México, Perŭ , Quito, Cuzco, Miguel por su temática suscitan interés. No obs- numeración de las series de castas y en sus pri- tante, como sucede con todos los testi- Cabrera, Andrés de Islas, José de Páez, meras publicaciones, donde proporciona los Ramón Torres, Vicente Albán, platería de monios materiales del pasado, quedan datos básicos de cada obra. oro, joyería espariola y americana , icono- aŭn numerosos aspectos que analizar, grafía, historia de la moda. entre ellos, las joyas que se han reprodu- cido adornando a los distintos persona- jes. Aunque este tipo de detalles suele Abstract pasar inadvertido, el estudio sistemático de la joyería pintada constituye toda una Descriptive studies of individual paintings ciencia auxiliar que puede aportar datos seldom pay- much attention to the jewels sobre la autoría, época de ejecución, gus- portrayed. This analysis of part of the tos y modas en la sociedad de su tiempo, Museo de América's painting collection además de otros aspectos. Por otra parte, addresses the models and chronology of sus datos visuales, cotejados con la docu- Spanish vice-royal jewellery in the con- mentación y el examen de las joyas coe- text of possible European inspiration. táneas desvelarán la veracidad de lo Such information may help to date the representado, posibles procedencias geo- paintings and identify their iconography gráficas, intluencias estéticas y otros more precisely. while contributing to a numerosos aspectos, incluyendo la posi- knowledge of Spanish American jewe- bilidad de identificación de personajes y Ilery during the colonial period. asuntos. Finalmente, las representaciones plásticas de joyas ay-udan a identificar ANALD, DEL MUSE0 DE AMELUCh 15 1200- / PAGS. 141-1"2 11411 LETICIA ARBETETA MIFtA tipos de los que no nos han Ilegado ejem- to o coronel, también Ilamado bandó, tira plos físicos, situación nada infrecuente metálica con cresterías, que rodea la cabe- dados los cambios y transformaciones za, y de la que surgen varios imperiales o que conlleva cada vuelco de la moda. Por arcos, que se entrecruzan en lo alto, todo ello, el contenido de este artículo se donde una cruz colocada sobre un globo cirie exclusivamente al estudio de las suele rematar la pieza. En el virreinato del joyas cuyos modelos tienen origen euro- Perŭ es frecuente encontrar en el interior peo y se encuentran representadas en de este punto un pinjante de perla o pie- algunas de las pinturas que forman la dra preciosa. Así lo vemos en varias pin- colección estable del Museo de América turas dieciochescas, entre ellas la que denominamos "Exaltación de Ma-ría" (fig. 1), que representa la coronación de la II. Las joyas en la colección pictó- Virgen por una Trinidad de personas igua- rica del Museo de América les5, la "Virgen de la Candelaria", (fig.2) de escuela cuzqueria6, e incluso en una Pinturas de temática religiosa miniatura para relicario que representa la Las imágenes del culto católico en la "Virgen del Rosario entre San Francisco y América hispana, se ornamentaron fre- Santo Domingo, no falta este pequerio cuentemente con vestimentas y joyas, detalle que, sin embargo, no aparece en simulando, en la mayor medida posible, otra pintura, también de escuela cuzque- una persona viva, idea promovida por el ria, "La Virgen de Belén entre San José y 3. Véase la bibliografía, que incluye, entre los nume- Concilio de Trento, que pretendía acercar Santiago", donde vemos su corona orna- rosos estudios sobre el aspecto de las imágenes: el arcano de los misterios religiosos a los mentada con perlas en los bordes (fig.3), ojos del devoto, promoviendo una reali- al estilo de las coronas antiguas espario- Martinez- Burgos García, Palma, 2000. En un dad palpable y física, aunque sin perder las, caso de algunas del Pilar'. También ámbito más especifico, hemos tratado en diver- la referencia de lo sobrenatural, que ven- corresponde a un modelo antiguo la coro- sas ocasiones el tema de las joyas como adorno dría acentuado por el esplendor y la mag- na representada en la pintura "La Virgen de las imágenes sagradas. En bibliografía: nificencia.' de Monguí"'", con alto canasto y un solo Arbeteta Mira, Letizia, 1993, Anális •s crítico del De esta forma, se promovieron formas imperial a modo de arco de flamas (fig.4), códice denominado "Joyel de N S de Guadalupe artísticas para conseguir que las imágenes modelo manierista que se usó principal- de Cáceres", 1996 "El alhajamiento de las imáge- sagradas evocaran a los personajes repre- mente durante los reinados de Felipe II y nes marianas españolas".„1996; "El exvoto de sentados, facilitando el diálogo espiritual, su hijo Felipe III (1556-1621). Compá- pues eSe aspecto casi humano venía rense estas coronas con las que Ilevan la Hernán Cortés',' y el estudio sobre las imágenes acompariado de una serie de símbolos, "Virgen de Nieva", patrona de Segovia, en de las cIausuras madrileñas, 1995. expresión de ideas abstractas. Desde la Esparia y la tabla enconchada con la ima- Ver, sobre el tema especifico: Arbeteta, 2005, Edad Media, las imágenes sagradas se gen de la Virgen de Valvanera, patrona de passim. complementaban con nimbos y aureolas, la Rioja, al norte de Castilla la Vieja, imá- 5 N° Inv. del MA 79; estudios, entre otros de: expresión de la luz de la santidad, cetros genes que solían reproducirse para devo- Martínez„ C. y Cabello P.,1997 n° 131, pp. 132-3; y coronas, como símbolos de poder, así ción de los naturales de estos lugares emi- García Saiz, M, C,1983 p. 524 n° 287; Arbeteta, como el orbe o mundo, esfera que sim- grados a Américal'. bolizaba el universo, privativa de la figu- Algunas de las pinturas conservadas L., 2006, n° 15, p. 96. ra divina, o la luna en creciente, el rostri- en el museo que también son "veras efi- 6 N° inv. 88 del M.A. VVAA, Perŭ...1999, pp. 146, llo, que enmarca la parte de la cara, y la o copias fieles del icono original, 255; Arbeteta, L, 2006, n° 104, p. 104, etc. corona de estrellas, elementos específicos lucen las coronas propias de su iconogra- 7 N° inv. 2000.01.009D2. de María; flores metálicas de valor simbó- fía, como la de Na Sa de Guadalupe, o. N° inv. 80. lico, animales, cruces y tantas otras for- patrona de México' 2, que Ileva corona 9 Dos ejemplos, uno de finales del siglo XV o mas surgieron como signos genéricos o radial, al estilo romano, o la Virgen de comienzos del siglo XVI, otro de 1645, no muy específicos, a lo que se ariadieron las Loreto, con su triple corona, similar a la joyas que los particulares donaban a la papal (n° inv. 33). frecuentes en el arte español, Arbeteta , L, 1995 imagen, bien como pago de un favor reci- Singulares son las versiones que el arte a, pp.196-7, 2228-9. bido (exvoto), bien como dádiva propi- de los monasterios femeninos realizó imi- 10. N° inv. 182. Muy reproducida como ilustración. ciatoria (ofrenda). tando las coronas metálicas, como refleja i. Ns. Inventario.1992-03-63.. y 161 respectivamente. Entre los elementos propios de las imá- el retrato de Juana de la Cruz ataviada 12.En España, sobre todo en Andalucía, abundan genes que puedan considerarse propia- para su profesión de votos (fig.5). La estas representaciones. El museo conserva una mente joyas, quizás sean los más Ilamati- joven luce una corona realizada con ele- buena selección de iconografia guadalupana, que vos las coronas de las imágenes represen- mentos textiles, flores artificiales y peque- incluye variantes sobre lienzo, tabla enconchada, tadas en la pintura religiosa, especialmen- rias perlas, cuya estructura reproduce fiel- te Jesŭs y la Virgen María'.
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