Roma in Lima: Italian Renaissance Influence in Colonial Peruvian Painting
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City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Roma in Lima: Italian Renaissance Influence in Colonial Peruvian Painting Christa Irwin Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/434 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ROMA IN LIMA: ITALIAN RENAISSANCE INFLUENCE IN COLONIAL PERUVIAN PAINTING By CHRISTA IRWIN A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii ©2014 CHRISTA IRWIN All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _______________ _________________________________ Date Professor James Saslow Chair of Examining Committee _______________ _________________________________ Date Professor Claire Bishop Executive Officer Professor Eloise Quiñones Keber__________________ Professor Raquel Chang-Rodríguez________________ Professor Susan Verdi Webster____________________ Supervision Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract ROMA IN LIMA: ITALIAN RENAISSANCE INFLUENCE IN COLONIAL PERUVIAN PAINTING by: Christa Irwin Adviser: Professor James Saslow The full extent of the long-lasting presence of the Italian Renaissance in colonial Lima has never been explored. This dissertation asserts that the Italian impact on painting in colonial Lima was connected to the authority of Rome, the center of the Catholic Church, and the artistic prestige of Italy in the culture of the sixteenth century. The Italian influence will be made evident through a survey of the careers of three Italian painters, Bernardo Bitti (1548-1610), Mateo Pérez de Alesio (1547-1616), and Angelino Medoro (1567-1631), who traveled to Lima in the end of the sixteenth century and went on to become the city’s most successful and influential artists. Connections between the New World and Italy are to be expected owing to the reliance on Italian models in Spain itself throughout the sixteenth century. However, profound Italian influence is unique to the viceroyalty of Peru, and, it is particularly concentrated in Lima in comparison to Latin America as a whole. Through detailed examinations of the extant paintings of Bitti, Alesio, and Medoro, as well as documents of their destroyed work, a more comprehensive and nuanced understanding of their styles and their contributions is offered here. Their impact is further evident in the work of v students and followers. A number of South American artists of the following generation continued to draw on Italianate forms: for example, Gregorio Gamarra trained with Bitti and perpetuated that artist’s distinctive elegant Mannerism. Italian influences were continued, with artists such Francisco Bejarano, an apprentice to Alesio, and Luis de Riano, who worked with Medoro. Numerous scholars have noted the prominence of Italianate forms and styles in South America, but they generally mention it as an aside or examine only isolated aspects of that influence. This scholarship includes the beginning of a map and timeline of Italian painters working in Peru, but it is by no means comprehensive and lacks any in-depth analysis of works of art. This dissertation is an in-depth consideration of the oeuvres of these Italian transplants as well as an assessment of the meaning and consequences of their presence in colonial Peru. vi Acknowledgments Many individuals and institutions have supported me throughout my graduate studies and dissertation research and writing. First and foremost, I must thank my adviser, Professor James Saslow, whom I began working with as a research assistant during my first semester at the Graduate Center in 2005. A year later, his class on the Global Renaissance was one of my earliest opportunities to consider a topic that bridged Italy and the larger world. When I approached him with an interest in pursuing the impact of Italy in colonial Latin America, he was nothing but enthusiastic, and his encouragement and support have not waned over the years it has taken me to complete this project. I have benefited greatly from his comments and advice. Professor Eloise Quiñones-Keber offered my first exposure to colonial Latin American art in a class I took during my very first semester at the Graduate Center. In that class, I first saw images of paintings by Bernardo Bitti and I was ecstatic to have the opportunity to think about the possibility of considering my long passionate interest in Italian Mannerist painting in a new and original context. Professor Raquel Chang-Rodríquez has been a gracious and supportive member of my committee since I approached her in 2010. She met with me to offer advice and guidance when we found ourselves in Lima at the same time for research. The research for this dissertation was supported by several grants, from the Graduate Center, and the Francis Haskell Memorial Fund. I could not have completed this project without these critical research trips, two to Peru, and one to Seville, Spain. In Lima, I found the help of the archivists at the Archivo General de la Nación, the conservators at the University of San Marcos, and the librarians at the Museo de Arte de Lima to be invaluable. vii I have to go back into my early academic career to thank Professor Marcia Hall at Temple University for being a mentor throughout my undergraduate career. Additionally, I am indebted to the professors of the Master’s Program in Art History at Williams College for providing the solid foundations I needed to succeed as a graduate student and scholar. Colleagues, friends, and family have been incredible sources of support and inspiration as well. Andrew Hottle, whom I originally met in 1999 at Temple University, has been a loyal and inspiring colleague at Rowan University since I began teaching there in 2009; I am grateful for our conversations about ideas, research, and writing, as well as his unremitting encouragement. Olivia Gruber Florek and Ellen Hurst were consistently helpful writing partners at different moments in this project. My parents instilled in me the importance of diligence and have supported every decision I have made. Most importantly, my husband, Gary, has been here since the beginning, through my Master’s program, my PhD coursework and examinations, and throughout the entire dissertation process, even accompanying me on several research trips and serving as my photographer. His belief in me has never diminished and has helped to make me the confident scholar and professor that I am today. I dedicate this work to my daughter, Grace, who has inspired me since long before I even had the idea of her in my head. viii To Grace ix CONTENTS ACKNOWLEDGEMENTS . vi LIST OF ILLUSTRATIONS . xi INTRODUCTION . 1 The Impact of the Old World Lima: A Unique Colonial Capital CHAPTER 1: BERNARDO BITTI . 29 Bitti’s Formation as an Artist Bitti’s Early Years in Lima Portraits at the University of San Marcos Bitti and the Doctrina Christiana Bitti’s Travels through Peru Bitti’s Popularity CHAPTER 2: MATEO PÉREZ DE ALESIO . 94 Alesio’s Early Years in Italy Alesio in Malta Alesio in Seville Alesio in Lima x The Virgin Lactans Alesio’s Students CHAPTER 3: ANGELINO MEDORO . 140 Medoro before Lima Medoro’s Work at the Monastery of the Descalzos Medoro’s Work at the Monastery of San Francisco Medoro’s Later Work in Lima Medoro’s Destroyed Work Medoro and Saint Rose of Lima Medoro’s Students and Followers CHAPTER 4: THE TRANSFORMATION OF COLONIAL PAINTING IN PERU . 199 CONCLUSION . 235 BIBLIOGRAPHY . 238 ILLUSTRATIONS . 247 xi ILLUSTRATIONS Figure 1.1. Bernardo Bitti, Virgin of the Candles, Church of San Pedro, Lima, Peru, 1575-80 1.2. Jerome Nadal, Evangelicae historiae imagines, adnotationes, et meditacions, published in 1593 1.3. Luis de Morales, Virgin and Child with the Spindle, Staatliche Museum, Berlin, Germany, 1560 1.4 Bernardo Bitti, Coronation of the Virgin, Church of San Pedro, Lima, Peru, 1575-80 1.5. Albrecht Dürer, Coronation of the Virgin, Life of the Virgin, 1510 1.6. Giulio Romano, Coronation of the Virgin, Vatican, Rome, Italy 1520s 1.7. Anonymous, Coronation of the Virgin, Archbishop’s Palace, Lima, Peru 17th century 1.8. Bernardo Bitti, Our Lady of Expectation, Church of San Pedro, Lima, Peru 1575-80 1.9. Bernardo Bitti, Gerónimo López Guarnido, University of San Marcos, Lima, Peru 1575 1.10. Mateo Pérez de Alesio, Luis Lopez de Solis, University of San Marcos, Lima, Peru 1590- 1602 1.11. Angelino Medoro, Fray Juan de Lorenzana, University of San Marcos, Lima, Peru 1611 1.12. Unknown artist, Feliciano de Vega y Padilla, University of San Marcos, Lima, Peru, 1619 1.13. Unknown artist, Diego de Vergara, University of San Marcos, Lima, Peru, 1646 1.14. Unknown artist, Fray Tomás de San Martin, University of San Marcos, Lima, Peru, 1554 1.15. Unknown artist, Trinity (left) and Coronation of the Virgin (right), Doctrina Christiana, 1584 1.16. Bernardo Bitti, Coronation of the Virgin, Monastery of the Merced, Cuzco, Peru, c. 1585 1.17. Bernardo Bitti, Holy Family, Church of San Pedro, Juli, Peru, 1586-1592 1.18. Bernardo Bitti, Baptism of Christ, Church of San Juan, Juli, Peru, 1586-92 xii 1.19. Bernardo Bitti, Saint John the Baptist in the Desert, Church of the Compañia, Juli, Peru, 1586-1592 1.20. Bernardo Bitti, Saint Catherine, Church of the Compañia, Juli, Peru, 1586-1592 1.21. Bernardo Bitti, Virgin of the Parrot, Cathedral, Cuzco, Peru, 1592-98 1.22.