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Miguel Cabrera (painter)

February 16, 2024

For other people named Miguel Cabrera, see Miguel Cabrera (disambiguation).
In this Spanish name, the first or paternal surname is Maldonado and the second or maternal family name is Cabrera.

Miguel Mateo Maldonado y Cabrera (1695–1768) was a Mestizo[1] painter born in Oaxaca but moved to Mexico City, the capital of Viceroyalty of New Spain.[2] During his lifetime, he was recognized as the greatest painter in all of New Spain. He created religious and secular art for the Catholic Church and wealthy patrons. His casta paintings, depicting interracial marriage among Amerindians, Spaniards and Africans, are considered among the genre's finest.[3] Cabrera's paintings range from tiny works on copper to enormous canvases and wall paintings. He also designed altarpieces and funerary monuments.[4]

Casta painting by Miguel Cabrera, Español e India, Mestizo. 1763.

Biography edit

 
Miguel Cabrera, El arcángel san Rafael (c. 1745-1768), the lobby of the House Museum Guillermo Tovar de Teresa at the Museo Soumaya
 
Portrait of Cabrera's patron, Archbishop Manuel José Rubio y Salinas, 1751. Museum of Fine Arts, Boston.
 
Altarpiece of the Virgin of Guadalupe with St. John the Baptist, Fray Juan de Zumárraga and Juan Diego

Cabrera was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodríguez Juárez brothers or José de Ibarra. Cabrera was a favorite painter of Archbishop Manuel José Rubio y Salinas, whose portrait he twice painted, and of the Jesuits, which earned him many commissions.

In 1756 he created an important analytical study of the icon of the Virgin of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura ("American marvel and ensemble of rare wonders observed with the direction of the rules of the art of painting", often referred to in English simply as American Marvel).[5] Cabrera and a group of six other painters analyzed the painting, with scientific eyes, not religious, identifying four different substances used in the painting: "oil, tempera with agglutinates, an aguazo, and a fresco-like tempera." In Cabrera's assessment, no painter was capable of using such techniques in the eighteenth century, much less in the sixteenth century, when the image was created.[6] Cabrera was concerned that there was a proliferation of inferior copies of the painting, and let it be known that the noted seventeenth-century painter, Juan Correa, used a waxed paper template of the image, so that down to the last detail, copies were faithful to the original. Cabrera's atelier created many copies of the image, some of which were signed by Cabrera himself. He sought faithfulness to the original image but to add luster and power to the copies, some paintings had the notation "touched to the original," [Tocada a su Original] with the date.[7] In 1752 he was again permitted access to the icon of Our Lady of Guadalupe to make three copies with the aid of fellow painters, José de Alcíbar and José Bentura Arnáez. The copies were for his patron Archbishop José Manuel Rubio y Salinas, one for Pope Benedict XIV, and a third to use "as a model for further copies."[8]

The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers.

His involvement in the analysis of the Guadalupe image was part of his long term campaign to raise the status of painters from mere artisans to respected practitioners of the liberal arts. It came at the same time that Mexican archbishop Manuel José Rubio y Salinas (1749-1765) sought the designation of the Virgin of Guadalupe as a universal patron. Jesuit Francisco López was the advocate in Rome for her cause. Benedict XIV recognized Guadalupe with her own feast day, starting in 1754.[9][10]

In 1753, he founded the second Academy of Painting in Mexico City and served as its director.[11]

Most of the rest of his works are also religious in nature; as the official painter of the Archbishop of Mexico, Cabrera painted his and other portraits. In 1760, Cabrera created The Virgin of the Apocalypse, which describes the chapter 12 of the Book of Revelation.[12] He is also known for his posthumous portrait of the seventeenth-century poet Sor Juana Inés de la Cruz.

Cabrera is currently most famous for his casta paintings. One of the sixteen in the set that was missing for many years was purchased by the Los Angeles County Museum of Art in 2015.[3] The museum received information that the last of the sixteen, thought lost, may be in Los Angeles, California.[13]

In the 19th century, the writer José Bernardo Couto called him "the personification of the great artist and of the painter par excellence; and a century after his death the supremacy which he knew how to merit remains intact." His remains are interred at the Church of Santa Inés in Mexico City.

Gallery edit

See also edit

References edit

 
Wikimedia Commons has media related to Miguel Cabrera (painter).
  1. ^ Inmaculada Rodríguez Moya (2003). La mirada del virrey: iconografía del poder en la Nueva España. Jaume I University. p. 70. ISBN 84-8021-418-X.
  2. ^ Bailey, Gauvin Alexander. Art of Colonial Latin America. London: Phaidon Press 2005, p. 418
  3. ^ a b "LACMA purchases long-lost masterpiece, once kept under a couch". Los Angeles Times. 2015-04-01. Retrieved 2015-04-01.
  4. ^ Bargellini, Clara. "Cabrera, Miguel." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures, vol 1. New York : Oxford University Press, 2001
  5. ^ americanmarvel.org
  6. ^ Peterson, Jeanette Favrot. Visualizing Guadalupe: From Black Madonna to Queen of the Americas. Austin: University of Texas Press 2014, p. 107.
  7. ^ Peterson, Visualizing Guadalupe, pp. 198-99
  8. ^ Peterson, Visualizing Guadalupe, p. 194.
  9. ^ Peterson, Visualizing Guadalupe, p. 298.
  10. ^ Cuadrielo, Jaime. "Zodiaco Mariano: Una alegoria de Miguel Cabrera" in Zodiaco Mariano, pp. 21-128. Mexico City: Insigne y Nacional Basilica de Santa María de Guadalupe.
  11. ^ Hamnett, Brian R. A concise history of Mexico. Cambridge: Cambridge University Press, 1999: 97 (retrieved through Google Books, 1 May 2009). ISBN 978-0-521-58916-1.
  12. ^ "Miguel Cabrera, Virgin of the Apocalypse – Smarthistory". smarthistory.org. Retrieved 2019-02-21.
  13. ^ An 18th century masterpiece appears to be hiding in L.A., Los Angeles Times 22 October 2017, front page. accessed 18 November 2017.

Further reading edit

  • Bailey, Gauvin Alexander. Art of Colonial Latin America. London: Phaidon Press 2005.
  • Carrillo y Gariel, Abelardo. El pintor Miguel Cabrera. México, Instituto Nacional de Antropología e Historia, 1966. OCLC 2900831
  • Castro Mantecón, Javier; Manuel Zárate Aquino Miguel Cabrera, pintor oaxaqueño del siglo XVIII,. México, Instituto Nacional de Antropología, Texas Press 1967.
  • Katzew, Ilona. Casta Painting. New Haven: Yale University Press 2004.
  • Peterson, Jeanette Favrot. Visualizing Guadalupe. Austin: University of Texas Press 2014.
  • Toussaint, Manuel. Colonial Art in Mexico. Translated and edited by Elizabeth Wilder Weisman. Austin: University of Texas Press 1967.

External links edit

  • Historia del Convento de Sta. Ines y creación del Museo JLC,; Beatriz del Carmen Cuevas
  • Maravilla Americana at Internet Archive

February 16, 2024
miguel, cabrera, painter, other, people, named, miguel, cabrera, miguel, cabrera, disambiguation, this, spanish, name, first, paternal, surname, maldonado, second, maternal, family, name, cabrera, miguel, mateo, maldonado, cabrera, 1695, 1768, mestizo, painter. For other people named Miguel Cabrera see Miguel Cabrera disambiguation In this Spanish name the first or paternal surname is Maldonado and the second or maternal family name is Cabrera Miguel Mateo Maldonado y Cabrera 1695 1768 was a Mestizo 1 painter born in Oaxaca but moved to Mexico City the capital of Viceroyalty of New Spain 2 During his lifetime he was recognized as the greatest painter in all of New Spain He created religious and secular art for the Catholic Church and wealthy patrons His casta paintings depicting interracial marriage among Amerindians Spaniards and Africans are considered among the genre s finest 3 Cabrera s paintings range from tiny works on copper to enormous canvases and wall paintings He also designed altarpieces and funerary monuments 4 Casta painting by Miguel Cabrera Espanol e India Mestizo 1763 Contents 1 Biography 2 Gallery 3 See also 4 References 5 Further reading 6 External linksBiography edit nbsp Miguel Cabrera El arcangel san Rafael c 1745 1768 the lobby of the House Museum Guillermo Tovar de Teresa at the Museo Soumaya nbsp Portrait of Cabrera s patron Archbishop Manuel Jose Rubio y Salinas 1751 Museum of Fine Arts Boston nbsp Altarpiece of the Virgin of Guadalupe with St John the Baptist Fray Juan de Zumarraga and Juan DiegoCabrera was born in Antequera today s Oaxaca Oaxaca and moved to Mexico City in 1719 He may have studied under the Rodriguez Juarez brothers or Jose de Ibarra Cabrera was a favorite painter of Archbishop Manuel Jose Rubio y Salinas whose portrait he twice painted and of the Jesuits which earned him many commissions In 1756 he created an important analytical study of the icon of the Virgin of Guadalupe Maravilla americana y conjunto de raras maravillas observadas con la direccion de las reglas del arte de la pintura American marvel and ensemble of rare wonders observed with the direction of the rules of the art of painting often referred to in English simply as American Marvel 5 Cabrera and a group of six other painters analyzed the painting with scientific eyes not religious identifying four different substances used in the painting oil tempera with agglutinates an aguazo and a fresco like tempera In Cabrera s assessment no painter was capable of using such techniques in the eighteenth century much less in the sixteenth century when the image was created 6 Cabrera was concerned that there was a proliferation of inferior copies of the painting and let it be known that the noted seventeenth century painter Juan Correa used a waxed paper template of the image so that down to the last detail copies were faithful to the original Cabrera s atelier created many copies of the image some of which were signed by Cabrera himself He sought faithfulness to the original image but to add luster and power to the copies some paintings had the notation touched to the original Tocada a su Original with the date 7 In 1752 he was again permitted access to the icon of Our Lady of Guadalupe to make three copies with the aid of fellow painters Jose de Alcibar and Jose Bentura Arnaez The copies were for his patron Archbishop Jose Manuel Rubio y Salinas one for Pope Benedict XIV and a third to use as a model for further copies 8 The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature However he also elaborated a novel opinion the image was crafted with a unique variety of techniques He contended that the Virgin s face and hands were painted in oil paint while her tunic mandorla and the cherub at her feet were all painted in egg tempera Finally her mantle was executed in gouache He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas which he asserted was of a coarse weave of certain threads which we vulgarly call pita a cloth woven from palm fibers His involvement in the analysis of the Guadalupe image was part of his long term campaign to raise the status of painters from mere artisans to respected practitioners of the liberal arts It came at the same time that Mexican archbishop Manuel Jose Rubio y Salinas 1749 1765 sought the designation of the Virgin of Guadalupe as a universal patron Jesuit Francisco Lopez was the advocate in Rome for her cause Benedict XIV recognized Guadalupe with her own feast day starting in 1754 9 10 In 1753 he founded the second Academy of Painting in Mexico City and served as its director 11 Most of the rest of his works are also religious in nature as the official painter of the Archbishop of Mexico Cabrera painted his and other portraits In 1760 Cabrera created The Virgin of the Apocalypse which describes the chapter 12 of the Book of Revelation 12 He is also known for his posthumous portrait of the seventeenth century poet Sor Juana Ines de la Cruz Cabrera is currently most famous for his casta paintings One of the sixteen in the set that was missing for many years was purchased by the Los Angeles County Museum of Art in 2015 3 The museum received information that the last of the sixteen thought lost may be in Los Angeles California 13 In the 19th century the writer Jose Bernardo Couto called him the personification of the great artist and of the painter par excellence and a century after his death the supremacy which he knew how to merit remains intact His remains are interred at the Church of Santa Ines in Mexico City Gallery edit nbsp A casta painting here he shows a Espanol Spanish father Mestiza mixed Spanish Indian mother and their Castiza daughter nbsp Pintura de Castas From Spaniard and Mulatta Morisca oil on canvas Private collection nbsp A casta painting De Mestizo y d India Coyote 1763 oil on canvas Waldo Dentzel Art Center nbsp Allegory of the Virgin Patroness of the Dominicans nbsp Juan Diego nbsp Virgin of the Apocalypse nbsp The Visitation nbsp The divine shepherdess around 1760 nbsp The Adoration of the Kings nbsp Don Juan Xavier Joachin Gutierrez Altamirano Velasco Count of Santiago de Calimaya ca 1752 Oil on canvas Brooklyn Museum nbsp Dona Maria de la Luz Padilla y Gomez de Cervantes ca 1760 Oil on canvas Brooklyn Museum nbsp Manuel Jose Rubio y Salinas Chapter house Cathedral of Mexico oil on canvas 1758 nbsp The Flight into Egypt nbsp Santa Gertrudis 1763 Dallas Museum of Art nbsp St Francis Xavier nbsp Miguel Cabrera St Ignatius of Loyola nbsp Sor Juana Ines de la Cruz Mexican nun and savante posthumous portrait oil on canvas 1750 nbsp The Annunciation nbsp The Marriage of the VirginSee also editCasta painting Mexican artReferences edit nbsp Wikimedia Commons has media related to Miguel Cabrera painter Inmaculada Rodriguez Moya 2003 La mirada del virrey iconografia del poder en la Nueva Espana Jaume I University p 70 ISBN 84 8021 418 X Bailey Gauvin Alexander Art of Colonial Latin America London Phaidon Press 2005 p 418 a b LACMA purchases long lost masterpiece once kept under a couch Los Angeles Times 2015 04 01 Retrieved 2015 04 01 Bargellini Clara Cabrera Miguel In David Carrasco ed The Oxford Encyclopedia of Mesoamerican Cultures vol 1 New York Oxford University Press 2001 americanmarvel org Peterson Jeanette Favrot Visualizing Guadalupe From Black Madonna to Queen of the Americas Austin University of Texas Press 2014 p 107 Peterson Visualizing Guadalupe pp 198 99 Peterson Visualizing Guadalupe p 194 Peterson Visualizing Guadalupe p 298 Cuadrielo Jaime Zodiaco Mariano Una alegoria de Miguel Cabrera in Zodiaco Mariano pp 21 128 Mexico City Insigne y Nacional Basilica de Santa Maria de Guadalupe Hamnett Brian R A concise history of Mexico Cambridge Cambridge University Press 1999 97 retrieved through Google Books 1 May 2009 ISBN 978 0 521 58916 1 Miguel Cabrera Virgin of the Apocalypse Smarthistory smarthistory org Retrieved 2019 02 21 An 18th century masterpiece appears to be hiding in L A Los Angeles Times 22 October 2017 front page accessed 18 November 2017 Further reading editBailey Gauvin Alexander Art of Colonial Latin America London Phaidon Press 2005 Carrillo y Gariel Abelardo El pintor Miguel Cabrera Mexico Instituto Nacional de Antropologia e Historia 1966 OCLC 2900831 Castro Mantecon Javier Manuel Zarate Aquino Miguel Cabrera pintor oaxaqueno del siglo XVIII Mexico Instituto Nacional de Antropologia Texas Press 1967 Katzew Ilona Casta Painting New Haven Yale University Press 2004 Peterson Jeanette Favrot Visualizing Guadalupe Austin University of Texas Press 2014 Toussaint Manuel Colonial Art in Mexico Translated and edited by Elizabeth Wilder Weisman Austin University of Texas Press 1967 External links editHistoria del Convento de Sta Ines y creacion del Museo JLC Beatriz del Carmen Cuevas Maravilla Americana at Internet Archive Retrieved from https en wikipedia org w index php title Miguel Cabrera painter amp oldid 1181246079, wikipedia, wiki, book, books, library,

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