By Marie R. Cash, Jack Parsons
Richly illustrated with examples of 18th- and 19th-century paintings from northern New Mexico's village church buildings, Santos is an in-depth research into the inventive historical past of the recent Mexican santero (saint maker).
Along with photographer Jack Parsons, Marie Romero funds visited each church within the area and documented, pointed out, and measured every piece. jointly they photographed over 500 items, together with 19 moradas (places of worship for Penitentes) and the Archdiocese of Santa Fe assortment housed on the Museum of foreign folks paintings. alongside the way in which, money exposed various examples of targeted santero paintings that have been housed in those church buildings, safe by way of thick adobe partitions and devoted mayordomos (caretakers). often times, those items had survived intact so long as 2 hundred years.
In addition to cataloging those items, money delves into the categorical creative origins of this exact shape, determining formerly unknown significant santeros, the 18th-Century beginner and the Laguna Santero. Cash's huge learn into those previously "anonymous" artisans fills a niche within the research of this specific shape, making Santos crucial for paintings historians and the final reader drawn to the tradition and artwork of the yankee Southwest.
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Extra resources for Santos: Enduring Images of Northern New Mexican Village Churches
Example text
Gesso and native pigments on wood. Restored/repainted 1980s by Fred Vigil and Luis Tapia using acrylic paints. ) In addition, women may have assisted santeros in the application of color to the body and faces of the bultos or other similar tasks. 14 Considering the large number of retablos and bultos remaining today in private collections and museums, it is obvious that the demand for New Mexican santos grew tremendously after the first locally made pieces were displayed in the churches. Santos were a part of the daily lives of the parishioners, and even the humblest home had an area set aside for worship—a home altar that usually displayed a patron saint made by a santero.
Taylor Museum, 1979), 55. 18. : Academy of American Franciscan History, 1957), 7. 19. : University of Texas Press, 1967), 396. 20. Donna Pierce, in Spanish New Mexico: The Spanish Colonial Arts Society Collection vol. : Museum of New Mexico Press, 1996) (SANM 1360), 43. 21. Chavez also mentioned this in a lecture given when the Spanish monarchs, Juan Carlos and Sofia, visited Santa Fe in the summer of 1987. 22. Marsha Clift Bol, “The Anonymous Artist of Laguna and the New Mexican Colonial Altar Screen” (master’s thesis, University of New Mexico, 1980).
Attributed to Fray Andres Garcia, third quarter of 18th century. Life-sized unclothed figure, 65". Gessoed wood painted with native pigments. ) state (fig. 11, detail), the figure represents Christ after being taken down from the cross and anointed with the Holy Oils. No loincloth is painted on the figure; it was expected that a real cloth would be placed over that area. A comparison of the carved and painted facial features of this figure with those of the Crucifix hanging on the main altar at the Santuario de Chimayó indicates that perhaps the head was overpainted by Molleno.