Castas - History Lab

Miscegenation in American society (II)

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

This work, entitled “De español y mestiza, castiza” (“Of Spaniard and Mestiza, Caste”), is a representation of mixed-race or caste painting, and is one of the main sources of information on everyday life in the Viceroyalty of New Spain in the 18th century. These representations are characteristic of a pictorial genre that developed during this century, known as “caste painting”. This genre was usually organised in series of 16 scenes depicting family groups made up of different ethnic groups, in response to the Enlightenment’s desire to order and classify the social structure and to show a self-image of the socio-cultural diversity of New Spain. It is likely that these works were intended for a foreign audience. This particular canvas was painted by Miguel Cabrera in 1763, the painter most recognised by his contemporaries. It depicts a family of high social rank, as can be deduced from the clothing and ornaments worn by the figures, who are standing in front of a shoe shop.

The post Miscegenation in American society (II) first appeared on History Lab.

Miscegenation in American society (I)

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

This work, entitled “De chino cambujo e india, loba” (“Of Chinese Cambujo and Indian, Wolf”), depicts a family group consisting of a father, a mother and a son, identified by inscriptions that refer to their degree of miscegenation from indigenous, European and African ethnic origins. These representations are characteristic of a pictorial genre that developed in the Viceroyalty of New Spain throughout the 18th century. It is known as “caste painting” and is organised on the basis of series generally consisting of sixteen paintings in which the most common unions are arranged. As shown in this canvas, which belongs to a set dispersed among various collections, the clothing and adornment of the figures, the activity they perform and the setting in which the action takes place, act as fundamental elements in identifying the social status of those depicted. Miguel Cabrera, the author of this group, who signed and dated the last of the canvases in 1763, is the painter most widely recognised by his contemporaries and had a large number of disciples and followers who were often inspired by the master’s own models.

The post Miscegenation in American society (I) first appeared on History Lab.

Caste painting

ad_hlab_min — Sat, 19 Feb 2022 16:30:14 +0000

The canvas is divided into two registers, each of which in turn is subdivided into four, offering a total of eight scenes. Each scene is identified by inscriptions that refer to the degree of miscegenation based on ethnic origins (indigenous, European and African). This style is characteristic of a pictorial genre developed in the viceroyalty of New Spain throughout the 18th century. This genre is known as “caste painting” and is organised on the basis of series generally consisting of 16 paintings in which the most common unions are arranged. Luis Berrueco, who signed this series, descended from painters from Puebla and had a large group of followers. He was responsible for the first series of “caste paintings” commissioned in Puebla, the second most important city in the viceroyalty of New Spain.

The post Caste painting first appeared on History Lab.