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Diego Valadés,from Rhetorica christiana ad concionandi et orandi vsvm accommodata, 1579, drawing

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Diego Valadés,from Rhetorica christiana ad concionandi et orandi vsvm accommodata, 1579, drawing

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This drawing depicts the Counter-Reformation religious orders in New Spain in a favorable light. After the Church announced that the indigenous peoples of New Spain were human beings, the Church expected them to fully convert to their teachings. In this drawing the indigenous peoples all have the same westernized face.

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"The Institution of the Eucharist at the Last Supper with St. Peter and St. Paul", mid-16th Century,Wings 19 x 6-1/4 in. (48.3 x 15.9 cm)Center 19 x 12-1/2 in. (48.3 x 31.8 cm),Feathers and colored paper on wood, gilt wood frame

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"The Institution of the Eucharist at the Last Supper with St. Peter and St. Paul", mid-16th Century,Wings 19 x 6-1/4 in. (48.3 x 15.9 cm)Center 19 x 12-1/2 in. (48.3 x 31.8 cm),Feathers and colored paper on wood, gilt wood frame

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Works such as this were exoticized by Europeans and yet they continued to fail to even acknowledge the indigenous artists. This feather mosaic triptych is so interesting because of the fusion of indigenous featherworking and Christian intentions. It depicts the Last Supper as the first Mass. The artists conveyed the intended aura of divinity well.

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This sculpture is an excellent example of how the Roman Catholic Church mastered the art of iconography. Again, the artistry and craftsmanship of indigenous peoples is displayed but without any acknowledgement to the creators. The very creators, the Catholic Church is indebted to for their mastery of religious iconography. The pure agony on Jesus' face is identifiable and can be relatable; especially to those who endured suffering.

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Unknown artist, Platter, Bolivia, 1725-1750. Silver

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Unknown artist, Platter, Bolivia, 1725-1750. Silver

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This platter represents a synthesis of indigenous and european metalwork. The silver most likely originating from Peru. The attention to deal is evident as well as the careful construction of space and depictions. The religious reference in the center of the platter in the naked form of John the Baptist with a Crucifix. It could have easily been used in association with the sacrament of baptism.

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Nicolás Enriquez, The Virgin of Guadalupe with the Four Apparitions, 1773, 22 1/4 × 16 1/2 in.,Oil on Copper

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Nicolás Enriquez, The Virgin of Guadalupe with the Four Apparitions, 1773, 22 1/4 × 16 1/2 in.,Oil on Copper

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The Virgin's ashen skin is extremely significant. Throughout history religious figures present in Christianity have continued to be whitewashed. Unfortunately, Juan Diego, the indigenous man who witnessed the appearances, was whitewashed in the four depictions of the apparitions in the corners.

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Félix Parra, "Fray Bartolomé de las Casas", 1875,263 x 356.5 cm, oil on canvas

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Félix Parra, "Fray Bartolomé de las Casas", 1875,263 x 356.5 cm, oil on canvas

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This piece is important because of its positive portrayal of indigenous peoples and its exposure to the intolerable cruelty they faced. It is not without faults, however, with its true objective to cast a heroic light upon the church being expressed so blatantly. This style of academic painting is one that people are accustomed to regarding religious art. The comfortability found in the acknowledgement of the wrongfulness of of the violence against indigenous but catholicism still being cast as favorable; as righteous.

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Diego Rivera, "The Creation", 1922, over 1000 sqft.,  

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Diego Rivera, "The Creation", 1922, over 1000 sqft.,  

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The artwork references Byzantine mosaics as well as mythical and religious figures and iconography. To me this piece is reminiscent of the murals of New Spain in churches during the period of mass conversions; and yet is not violent nor created with the intent to frighten one into practicing religion. The figures are stylized and are also indigenous peoples which provided a fresh perspective from the tired out prior westernized portrayals.

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Delilah Montoya, "La Guadalupe", 1998,156 x 118 in.,mixed media photo mural installation

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Delilah Montoya, "La Guadalupe", 1998,156 x 118 in.,mixed media photo mural installation

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This mixed media photo mural is a testament to the continued commitment to catholicism by Latin Americans and Latino/a/x peoples. I, personally love this piece so much because of its embrace of contemporary religious devotionals as well as lending a voice to current issues that plague society today (such as mass incarceration of peoples of color). Also for the images to be set above an ofrenda adds another layer of deep intimacy.

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Francisco "Twick" Aquino, "La Virgen de Guadalupe", 2007, San Francisco Mission District

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Francisco "Twick" Aquino, "La Virgen de Guadalupe", 2007, San Francisco Mission District

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This contemporary take on the Virgen de Guadalupe is very intriguing. It is distinctly representative of Twick's Chicano identity while also contributing to Latinidad--cultural connectedness between Latin Americans, Latino/a/x and the like. Much like previous works mentioned inthe timeline, this mural (as well as others in the Mission) have been popularized and appreciated by people from higher socio-economical classes. These vary people who love the Mission for its murals are the same ones pushing artist like Twick out.

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Scherezade Garcia, "American Super Tropics-Sunburnt Jesus Christ", 2016, 72x48 in., Acrylic on linen

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Scherezade Garcia, "American Super Tropics-Sunburnt Jesus Christ", 2016, 72x48 in., Acrylic on linen

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Scheherazade's work is breathtakingly beautiful whilst incorporating religious and commercial iconography and speaking to prevalent societal issues. The artist revitalizes the icon of the Virgin with baby Jesus, depicting them with darker skin and even referencing Jesus as sunburnt. In this dreamy array, it is important to note her black depictions of the iconic figures as a conversation of the continued anti-black sediments perpetuated throughout Latin America. Just like how catholicism has continued to thrive today from the influence of Europeans, racism has paralleled it.