Power and Piety Spanish Colonial Art From the Patricia Phelps De Cisneros Collection

Past Exhibitions

Power and Piety: Spanish Colonial Art

March 19, 2016 to December 9, 2018

Visit

This exhibition volition be on tour from 2016–2019.

2016

March 19–April 17 : Guild of the Four Arts (Palm Beach, Florida)

August 20–November 12: Loyola University Museum of Art (Chicago, Illinois)

December iii–February 26, 2017: Appleton Museum of Art, College of Cardinal Florida (Ocala, Florida)

2017

July 16–September 24: Dixon Gallery and Gardens (Memphis, Tennessee)

October xiv–January 7, 2018: Figge Art Museum (Davenport, Iowa)

2018

March 2–April 22: Middlebury College Museum of Art (Middlebury, Vermont)

August 25–December 9: Allentown Art Museum (Allentown, Pennsylvania)

2019

February viii–May v: El Paso Museum of Fine art (El Paso, Texas)

Virtually

The exhibition Power and Piety: Spanish Colonial Fine art is made upwardly of 57 objects, including paintings, sculptures, silver pieces, article of furniture and decorative devotional objects from the Colección Patricia Phelps de Cisneros. These objects were created in Latin American during the Hispanic and Republican periods, from the early seventeenth century through the mid-nineteenth century. They showcase a broad range of artistic production and the finesse of local masters. Together these works offering an opportunity to learn about the daily life and religious practices of colonial Latin America and they shed calorie-free on the the nature of commercial substitution in the region.

Programs

Illustrated Lecture: "Religious Art in the Spanish Caribbean"

Saturday, March 26, 2016

Saturday, March 26, 2016
11:00 AM–12:00 PM
Walter S. Gubelmann Auditorium
The Lodge of the Four Arts
2 4 Arts Plaza
Palm Beach, FL 33480

Illustrated lecture complementing the "Power & Piety: Spanish Colonial Art" exhibit, on display from March xix, 2016 through Apr 17, 2016. The lecture will be held in the Walter S. Gublemann Auditorium with curator Jorge F. Rivas Pérez.

Artworks

Fernando Álvarez Carneiro

The Holy Spirit

1730

Oil on canvas

160.8 x 103.1 cm

Denver Art Museum...

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Fernando Álvarez Carneiro (c. 1670–1744), Venezuela
The Holy Spirit, 1730
Oil on sheet
160.8 x 103.1 cm (63 5/16 x 40 9/16 in.)
Denver Fine art Museum. Promised souvenir of Patricia Phelps de Cisneros in honor of Carolina Cisneros Phelps
Unidentified artist, Brazil

Incense Gunkhole

c. 1800

Silver

xiv x fifteen.2 x 6.four cm

Museum of Fine Arts, Boston...

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Unidentified creative person, Brazil
Incense Boat, 18th century
Silverish
14 x fifteen.ii 10 half-dozen.4 cm (five 1/2 ten half dozen x 2 1/two in.)
Museum of Fine Arts, Boston. Promised souvenir of Patricia Phelps de Cisneros in honor of Gabriel Pérez-Barreiro
Unidentified artist, Venezuela

Via Crucis—Station Vii: Jesus Falls for the Second Time

1759

Oil on wood

39.5 x 37 cm

Blanton Museum of Art...

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Unidentified artist, Venezuela
Via Crucis—Station VII: Jesus Falls for the 2nd Time, 1759
Oil on forest
39.five x 37 cm (15 9/16 x 14 nine/16 in.)
Blanton Museum of Fine art. Promised souvenir of Patricia Phelps de Cisneros in honor of Milan R. Hughston
José Ramón Cardozo

Armchair for the Choir of the Caracas Cathedral

1797

Mahogany, velvet upholstery

135.v ten 79 x 65 cm

Denver Art Museum...

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José Ramón Cardozo (b. 1758), Venezuela
Armchair for the Choir of the Caracas Cathedral, 1797
Mahogany, velvet upholstery
135.5 ten 79 ten 65 cm (53 3/eight 10 31 1/viii ten 25 9/sixteen in.)
Denver Art Museum. Promised gift of Patricia Phelps de Cisneros in honor of Adriana Cisneros de Griffin

the structure of a new choir. The woodworker José Ramón Cardozo was commissioned with this work in 1794. After numerous delays and disputes with church authorities, he was barely able to cease the chairs before his contract was canceled in 1798. The Anglo-Dutch manner design of the chairs may be based on i of the many images or treatises of European woodworking that were circulating throughout the Americas at the time. Intense commerce toward the end of the 18th century between the Captaincy General of Venezuela and the nearby Dutch and English colonies of the Caribbean may explain the possible origin of this particular design.
Juan Pedro López

Saint Matthew

c. 1770

Oil on sail

138.4 x 95.9 cm

Denver Art Museum...

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Juan Pedro López (1724–1787), Venezuela
Saint Matthew, c. 1770
Oil on sail
138.4 x 95.nine cm (54 1/2 10 37 iii/four in.)
Denver Art Museum. Promised gift of Patricia Phelps de Cisneros in honor of Mateo R. Barnetche

In Latin America during the period of the Spanish colonies, the Catholic Church and its related institutions, such equally convents, monasteries, and brotherhoods, were the greatest patrons of the arts. This large-format painting by the Caracas master Juan Pedro López offers a fine example of church patronage. The work, i of three surviving pieces of a complete series of the twelve apostles, was commissioned to López around 1770 for the Convent of the Conception in Caracas. Founded in 1636, the convent was the oldest and wealthiest of the city until its closing in 1874.
Juan Pedro López

Our Lady of Guidance

c. 1762

Oil on wood

100.3 x 69.2 cm

Museum of Fine Arts, Boston...

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Juan Pedro López (1724–1787), Venezuela
Our Lady of Guidance, c. 1762
Oil on wood
100.iii 10 69.2 cm (39 ane/2 x 27 ane/4 in.)
Museum of Fine Arts, Boston. Promised gift of Patricia Phelps de Cisneros in honor of Jorge Rivas
Domingo Tomás Núñez

Sacrarium

c. 1790

Silver

16.4 x 15 x 7 cm

Denver Fine art Museum...

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Domingo Tomás Núñez (1735–1801), Venezuela
Sacrarium, c. 1790
Silver
xvi.four 10 15 x 7 cm (6 seven/sixteen x 5 7/viii ten two 3/4 in.)
Denver Fine art Museum. Promised gift of Patricia Phelps de Cisneros in honor of Gisela and Carlos Padula

This small silver piece, measuring simply over six inches, is an case of the aesthetic refinement and artisanal mastery achieved past the silversmiths of Caracas, Venezuela during the second one-half of the eighteenth century. This sacrarium, attributed to Domingo Tomás Núñez (1735–1801), is a miniature version of the silver sacraria that were used in the urban center's principal temples. This portable adaptation was used to bring communion to those who could non attend church building. In these cases, the priest was required to walk in solemn procession, with the sacrarium hanging from his cervix by a argent chain, until reaching the place where the communion would be given. The complex embossed rocaille decoration that covers the entire surface of the piece is characteristic of the Rococo way that remained popular in Caracas until the concluding decade of the eighteenth century, much later on than in other Spanish territories in America, where stylistic preferences were already turning toward classical forms of Greco-Roman inspiration.
Unknown

Tabernáculo [Tabernacle]

Second half of the 18th Century

Polychromatic and gilt forest and mirrors

Open up: 129.nine x 91.5 x 261.half dozen cm (51 1/8 x 36 x 103 inches) Closed: 129.ix ten 91.four x 50.2 cm (51 1/8 ten 36 10 19 3/four inches)

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The upper classes—local nobles, landowners, and affluent merchants—of the smashing capitals of the Viceroyalties, Mexico Metropolis and Lima, competed with their counterparts in Madrid and Seville in the ostentatious brandish of New World riches. No expense was spared in the furnishing of homes and state estates. Very special care was put into the decoration of oratories in detail. Small and luxurious tabernacles with religious images, frequently collapsible for piece of cake ship, were the focal point of domestic altars. This architecturally inspired 18th-century Mexican tabernacle resembles a pocket-size canopy supported by four small Salomonic columns. Opening its doors reveals an interior painted with chinoiserie on a vermilion groundwork, in imitation of the luxurious Asian textiles circulated by the Manila Galleon. A pair of mirrors affixed to each of the four door flaps, with their respective gilt shelves and molding, served to increase the light of candles placed on the shelves. A full body image of the Virgin of the Immaculate Conception completes the ensemble.
Unidentified artist, Indo-Portuguese

Virgin Mary

18th Century

Polychromed ivory and gilded wood

36 10 xi.5 x 8 cm (14 3/16 x four 1/2 x iii 1/8")
Juan José Landaeta

Our Lady of Mount Carmel

1800–1810

Oil, gold and silver on sail

65.4 x 48.9 cm (25 3/4 ten xix 1/4 in.)