This past weekend, my wife and I were in Chicago, ostensibly to attend a friend’s wedding. We turned that into an excuse, however, to arrive a few days ahead of time and do some sightseeing: my wife had never been to Chicago before and I’d last been there over 20 years ago, so much of the time I felt much the same as she did about what we saw. It was a good visit, filled with good sightseeing and, thanks to my wife’s foodie soul, good food as well. Before we left Wichita, I made sure to check the Art Institute’s list of current exhibitions, and I was pleased to learn that one of them was A Voyage to South America: Andean Art in the Spanish Empire. It’s a small exhibit (only 16 items); but, seeing as I don’t believe I’d seen any colonial art from the Andes in person before, I was glad to have the chance to see what I did. This exhibit is the first of its kind for the museum and will remain up until January of 2016, so anyone who will be in the area between now and then who has an interest in Spanish colonial art should give this a look.
I’m pretty much ignorant of Peru’s colonial history, I am sorry to say. Peru was equally Mexico’s rival in terms of its wealth, and its society became as racially mixed as New Spain’s became, but that really is about all I know. Based on my reading about casta paintings in New Spain, though, I know that so far only one set of casta paintings from Peru is known to exist. This fact strikes me as strange, given, for example, the illustration by Ulloa and Juan that you see here–the castas themselves are not only known, it appears that, as was the case in Mexico, certain standard ways of depicting them had appeared as well. (By way of comparison, over 100 complete sets of casta paintings from Mexico are known to exist.)
The other, serendipitous fact of my seeing this exhibit when I did is that I have been reading a recent history of Spain’s exploration of and colonizing efforts in the Pacific, so the art work here provided a nice visual complement to that reading.
Of course, no exhibition purporting to cover 300 years of colonial art via 16 objects is going to go too much into depth. Its chief virtue for me, therefore, was in showing me that, despite my reading of that history, I have still more reading to do.