Ray Hernandez-Duran

Explore how sacred art evolved in early Mexico, adapting to local cultures and artistic traditions.This beautifully illustrated book reveals the importance of saints in New Spain, a viceroyalty that was part of the Spanish Empire from 1521–1821, covering modern-day Mexico, Central America, and the US Southwest. In the late sixteenth century, Rome’s attempts to manage sanctity as an official process had a profound impact throughout Spain and the Spanish viceroyalties. Saintly devotions traveled to Mexico, and circulated within the vast territory as images or print, then to be transformed by New Spain’s own communities. Drawing on collections from Mexico and the United States, this book examines the role of images in the construction of the holy: these paintings, sculptures, and engravings routinely used to propagate, celebrate, and venerate saintly figures, and used in official beatification and canonization proceedings. The relationship between sanctity and the pictorial is a long, revered tradition that continues in the work of New Mexico’s santero artists today.

The first substantial Mexican colonial art historiography in English, this book examines the origin of the study of colonial art in Mexico as a symptom of the development of modern museum practice in mid-nineteenth-century Mexico City. Also an intellectual history, this study recognizes the role of nationalism in the initiation of art historical practice in what is understood today more broadly as Latin America. Although there has been a steady stream of scholarship produced about the subject, beginning in Mexico and increasingly in the United States, what is variably known as viceregal or colonial Mexican, Spanish colonial, and colonial Latin American art continues to be underplayed or overlooked by most art historians and is thus marginal in the field of art history. Ray Hernández-Durán redresses that omission, presenting a detailed examination of the origin of the study of colonial art in Mexico. Drawing upon archival research, this volume touches upon the role of politics on the formation of the first gallery of Mexican painting in the Academy of San Carlos and the first comprehensive historical treatment of the material in the form of a dialogue. Furthermore, this study promotes further research in colonial art historiography and underlines the pivotal role that the Indo-Hispanic Americas played in the emergence of early modernity and the process of globalization.

The first substantial Mexican colonial art historiography in English, this book examines the origin of the study of colonial art in Mexico as a symptom of the development of modern museum practice in mid-nineteenth-century Mexico City. Also an intellectual history, this study recognizes the role of nationalism in the initiation of art historical practice in what is understood today more broadly as Latin America. Although there has been a steady stream of scholarship produced about the subject, beginning in Mexico and increasingly in the United States, what is variably known as viceregal or colonial Mexican, Spanish colonial, and colonial Latin American art continues to be underplayed or overlooked by most art historians and is thus marginal in the field of art history. Ray Hernández-Durán redresses that omission, presenting a detailed examination of the origin of the study of colonial art in Mexico. Drawing upon archival research, this volume touches upon the role of politics on the formation of the first gallery of Mexican painting in the Academy of San Carlos and the first comprehensive historical treatment of the material in the form of a dialogue. Furthermore, this study promotes further research in colonial art historiography and underlines the pivotal role that the Indo-Hispanic Americas played in the emergence of early modernity and the process of globalization.