La biblia, que es, los sacros libros del viejo y nuevo testamento: Trasladada en español, trans.
The narrative closely conforms to what appears in John 1:29–34: “The following day John sees Jesus, who comes to him and says: Here is the Lamb of God, that will remove sin from the world” (El siguiente dia vee Juan a Jesus que venia a el, y dize, He aqui el Cordero de Dios, que quita el pecado del mundo). Susan Emanuel (Austin: University of Texas Press, 2014) and Alessandra Russo, “An Artistic Humanity: New Positions on Art and Freedom in the Context of Iberian Expansion, 1500–1600,” RES: Anthropology and Aesthetics 65–66 (2014–15): 353–63.Ħ.
Alessandra Russo, “A Contemporary Art from New Spain,” in Russo, Wolf, and Fane, Images Take Flight, 23–63 Alessandra Russo, The Untranslatable Image: A Mestizo History of the Arts of New Spain, 1500–1600, trans. This approach has also been applied to considerations of pre-Hispanic and colonial Peruvian featherwork: Stefan Hanß, “Material Encounters: Knotting Cultures in Early Modern Peru and Spain,” Historical Journal 62, no. Gáldy, and Adriana Turpin (Newcastle, UK: Cambridge Scholars Publishing, 2013), 61–82. Christine Göttler and Mia Mochizuki (Leiden, the Netherlands: Brill, 2017), 319–34 and Corinna Tania Gallori, “Collecting Feathers: A Journey from Mexico into Italian Collections (16th–17th Century),” in Collecting East and West, ed. See, for example, Margit Kern, “Cultured Materiality in Early Modern Art: Feather Mosaics in Sixteenth-Century Collections,” in The Nomadic Object: The Challenge of World for Early Modern Religious Art, ed. 4 (Fall 2015) and Anne Gerritsen and Giorgio Riello, eds., The Global Lives of Things: Material Culture in the First Global Age (New York: Routledge, 2016).Ĥ. Recent manifestations of this interest that examine early modern examples of transregional visual culture include Daniela Bleichmar and Meredith Martin, eds., “Objects in Motion in the Early Modern World,” special issue, Art History 38, no. For their movement through missionary networks to China and Japan in the sixteenth century, as well as to Mozambique in the seventeenth, see Joanne Rappaport and Thomas Cummins, Beyond the Lettered City: Indigenous Literacies in the Andes (Durham, NC: Duke University Press, 2012), 104.ģ. For the movement of these objects from Mexico through elite networks of gift exchange to collections in central Europe and Italy, see Christian Feest, “Mexican Featherwork in Austrian Habsburg Collections,” in Russo, Wolf, and Fane, Images Take Flight, 291–97 and Lia Markey, Imagining the Americas in Medici Florence (University Park, PA: Penn State University Press, 2016). María Luisa Sabau García (Mexico City: Grupo Azabache, 1994), 73–102 as well as Teresa Castelló Yturbide, ed., El arte plumaria en México (Mexico City: Fomento Cultural Banamex, 1993) and Alessandra Russo, Gerhard Wolf, and Diana Fane, eds., Images Take Flight: Feather Art in Mexico and Europe (1400–1700) (Munich: Hirmer, 2015). On Mexican featherwork, see the pioneering essay by Elena Isabel Estrada de Gerlero, “La plumeria, expresión artística por excelencia,” in México en el mundo de las colecciones de arte: Nueva España 1, vol. Donna Pierce, Rogelio Ruiz Gomar, and Clara Bargellini (Denver: Denver Art Museum, 2004), 102–5.Ģ. For the objects in Vienna, see Elena Isabel Estrada de Gerlero, “Jesus at the Age of Twelve, Weeping Virgin,” in Painting a New World: Mexican Art and Life, 1521–1820, ed. Tableau en plumes polychromes,” in Mobilier & objets d’art vendredi, sale cat., Drouot, Paris, May 24, 2019, 81–82.
8, 9)-guide speculation as to its provenance and authorship. Formal and technical similarities between this object and a pair of featherwork images signed by Juan Cuiris and Juan Baptista (believed to be the same artist) and produced in Michoacán-now in the Kaiserliche Schatzkammer in Vienna (see Figs. The object, which had been held in a private collection in France since at least the late nineteenth century, was sold on May 24, 2019, at the auction house of Drouot by Coutau-Bégarie to the Musée du quai Branly–Jacques Chirac in Paris. Unless otherwise indicated, translations from the Spanish are my own.ġ. My thanks as well to Nick Geller, Lory Frankel, and anonymous reviewers for their keen insight and editorial eye. These include the Department of Art History at the University of Southern California (where it took shape with the unflagging support of Daniela Bleichmar, Alexander Marr, Peter Mancall, and Sherry Velasco), the Center for Advanced Study in the Visual Arts, and the Society of Fellows at the University of Michigan. This project was nourished by many intellectual communities over the years, for which I am deeply grateful.
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