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Art and Jesuit Patronage in Colonial Quito

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Art and Jesuit Patronage in Colonial Quito ART AND JESUIT PATRONAGE IN COLONIAL QUITO: THE PROPHET PAINTINGS AT THE CHURCH OF LA COMPAÑÍA by Isabel Oleas-Mogollón A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2018 © 2018 Isabel Oleas-Mogollón All Rights Reserved ART AND JESUIT PATRONAGE IN COLONIAL QUITO: THE PROPHET PAINTINGS AT THE CHURCH OF LA COMPAÑÍA by Isabel Oleas-Mogollón Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Mónica Domínguez Torres, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ H. Perry Chapman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ David M. Stone, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Luisa Elena Alcalá, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS I am deeply grateful to my advisor, Dr. Mónica Domínguez Torres of the University of Delaware, for her insight, continual encouragement, and patience during my graduate studies. Many thanks to Dr. Perry Chapman, Dr. David Stone of the University of Delaware, and to Dr. Luisa Elena Alcalá of the Universidad Complutense of Madrid for their feedback and questions which pushed my research into deeper avenues and strengthened my arguments. My gratitude extends to the Center of Medieval and Renaissance Studies at the University of Saint Louis that provided funding as well as a collegial environment to pursue my research. I also want to thank Father José Nevado, Gabriela Salazar, and Francisco Piñas of the Library Aurelio Espinosa Pólit for supporting my research in Quito’s Jesuit archives. My thanks to the University of Delaware’s department of Art History for funding my research in local and foreign archives, and to Linda Magner for her endless help and guidance. This project could not have been possible without the assistance of Juan Carlos Pinos and Diego Santander of the Fundación Iglesia de la Compañía de Jesús, who granted access to The Prophets; and of the scientists at Winterthur Scientific Research and Analysis Laboratories, especially Catherine Matsen, Judy Rudolph and Rosie Grayburn, who provided the opportunity of using technical studies in my research. I also want to thank Brian Baade for sharing his expertise about painting practices and materials; and to Michele Marincola, Sarah Barack, and the fellows and lecturers at iv IFA’s Summer Institute in Technical Art History at New York University who encouraged and broadened my interests and curiosity in technical art history. My deepest thanks to my fellow students and friends at University of Delaware, especially Rachel Zimmerman, Alba Campos, Sabena Kull, Nicole Cook, Lisa Drago, Tiffany Racco, Emily Casey, Emily Torbert, Craig Lee, Michele Frederick, Hannah Segrave, Sarah Leonard, Caitlin Hutchinson, Elizabeth Simmons, Karli Wurzelbacher, Jeffrey Richmond-Moll, Spencer Wigmore, and Galina Olmsted for sharing the joys and burdens of graduate school. I also want to thank Prof. Lauren Petersen, Prof. Lawrence Nees, and Prof. Wendy Bellion of University of Delaware for their inspiring and challenging classes. My special thanks to Vicki Cassman, who has been my mentor and friend all these years. Finally, I want to express my love and gratitude to my husband, Joel, who has kept me sane and happy; to my parents, Guillermo and Rita, for supporting my endless search for knowledge; to my sisters, Dani and Claudia, and my brother, Andrés, for their encouragement; and to Dezi and Roxie, for their inconditional love. v TABLE OF CONTENTS LIST OF FIGURES.....................................................................................................viii ABSTRACT ..............................................................................................................xviii Chapter 1 INTRODUCTION.............................................................................................. 1 The Jesuits and their Church in Quito ................................................................ 5 The Prophets: Historiography .......................................................................... 15 Methodology and Structure of the Dissertation................................................ 20 2 GORÍBAR’S PROPHETS?.............................................................................. 30 The Prophets and the Church ........................................................................... 31 Previous Attributions........................................................................................ 36 A Jesuit Authorship? ........................................................................................ 47 New Attributions .............................................................................................. 60 3 THE PROPHETS: MATERIALS AND TECHNIQUES ................................. 73 The Composition of The Prophets: Sources and Influences ............................ 74 Selection of Sources: Theory and Practice....................................................... 80 Appropriation of Printed Sources..................................................................... 89 The Process of Diseño ...................................................................................... 95 Underdrawings and the Process of Transfer..................................................... 99 Preparation of the Painting Surface................................................................ 103 Painting Technique......................................................................................... 110 4 A JESUIT PROPHECY ................................................................................. 121 Prophetic Figures in Jesuit Buildings ............................................................. 124 Prophecy and Jesuit Institutional Identity ...................................................... 128 The Role of Prophecy and the Supernatural in the Jesuit Evangelical Project139 Jesuits, Messengers of the Divine .................................................................. 147 Martyrdom, Messianism and the Fulfillment of God’s Will.......................... 149 The Prophets and Quito’s Jesuit College ....................................................... 161 vi 5 THE PROPHETS AND LA COMPAÑÍA’S MATERIALITY: REFLECTIVE SURFACES AND SPIRITUAL GROWTH ......................... 166 The Church of La Compañía and Jesuit Splendor.......................................... 168 The Prophets and the Church’s Holy Space................................................... 175 Reflective Surfaces and Christian Light: A Matter of Conversion ................ 184 Painted Visions and Mirrored Reflections ..................................................... 193 Glittering Paths Lead to Spiritual Growth...................................................... 200 CONCLUSION .......................................................................................................... 211 FIGURES ................................................................................................................... 221 REFERENCES ........................................................................................................... 348 Manuscript Sources ........................................................................................ 348 Archivum Romanum Societatis Iesu, Jesuit Historical Manuscripts on Microfilm, Special Collections, Saint Louis University, Saint Louis, MO. ....................................................... 348 Archivo S.J., Librería Aurelio Espinosa Pólit, Quito, Ecuador.... 353 Archivo Nacional Histórico de Chile, Fondo de la Junta de Temporalidades de la Compañía de Jesús, Santiago de Chile, Chile. ............................................................................................ 353 Print Primary Sources..................................................................................... 354 Secondary Sources.......................................................................................... 356 Appendix A INFORMATION REGARDING JESUIT ARTISTS WORKING IN COLONIAL QUITO (1639-1742) ................................................................. 374 B BREVE SUMA
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