# data[].attributes.body
Virgin of Guadalupe, 16th Century
Oil and possibly Tempura on Maguey Cactus Cloth and Cotton (Basilica of Guadalupe, Mexico City)

The most famous and exalted depiction of The Virgin of Guadalupe, came at a time where the Spanish had defeated the Aztecs and were actively converting the population to Christianity. The Virgin reveals herself to Juan Diego on a scared hill formerly known for the Aztec's mother goddess, in the north of Mexico City. The Virgin's miraculous revelation incorporated with mixed imagery reinforced likeness to the indigenous population which was pivotal to successful conversion.  The indigenous people are introduced to iconography that becomes synonymous with The Virgin of Guadalupe.  The Virgin features the full body halo to convey her holiness, paired with downcast eyes, hands clasped in prayer, and ashen skin and dark hair, unlike the European Christian iconography, to relate to the darker skinned population. The Virgin has stars on her blue cloak, and she is standing on a moon supported by an angel. Her dress is white with a floral motif. The most important aspect of the icon of the Virgin of Guadalupe is that the community see themselves represented; which was essential for confirmation. As such, she became popular and emblematic of an idealized figure and symbol of faith.

# data[].attributes.body
Manuel de Arellano
Antonio de Arellano
La Virgen de Guadalupe, 1691
Oil on Canvas
82 1/4 × 60 1/4 × 3 1/2 in.

Manuel de Arellano's version of La Virgen de Guadalupe from 1691 depicts the four scenes in each corner of the painting illustrating the story of the revelation to Juan Diego. This Virgen features the crown, referencing the Book of Revelation and the woman of the Apocalypse, with twelve stars on her head. La Virgen de Guadalupe is surrounded in a halo of flowers and plant life recognizable and hallowed to the indigenous population. During the 17th century, The Virgen's following became even stronger when she aided in stopping a flood. Repeated here is the dark ashen skin of the Virgen, which is also represented in the angel as well as Juan Diego, which helps to reinforce this scared imagery and connection to spread faith and popularity.

# data[].attributes.body
Agustin del Pino
Virgin of Guadalupe, Early 18th Century
Oil paint, Lacquer, Wood, Mother of Pearl (Enconchado)
29.13 x 21.25 in.

The Virgin of Guadalupe in this depiction is inlaid into wood using the enconchado method of incorporating pieces of mother of pearl. Using this material added a shine and illumination to the artwork, so it glimmered and moved in the light, further alluding to the Virgin's holiness. The Virgin is shrouded in light and luminescence, solidifying her appeal and idealized beauty. Continued in this artwork, is the floral motif surrounding the Virgin and is continued onto the frame, sacred to the people, and adding to the splendor. Repeated from the previous two versions, is a the continued use of three main colors; red, blue and yellow. The Virgin's popularity expanded and solidified the nation's devotion to her after her presence aided in stopping an epidemic. As such, she was declared a patron saint.

# data[].attributes.body
Isidro Escamilla
Virgin of Guadalupe, 1824
Oil on Canvas
22 7/8 x 15 in.

The Virgin of Guadalupe, by the 19th century, was ingrained into the community as a national symbol of faith, and as a representative of national identity. The Virgin was embedded into the culture and revered by many as a mother, the Virgin Queen, and an idealized portrayal of femininity, beauty, and virtue. The Virgin became even further ingrained into popular culture by becoming a symbol for Mexican independence, particularly after Miguel Hidalgo carried a banner with the Virgin's image in the beginning of the century.  The increased and inherent reverence of the image of The Virgin of Guadalupe through public access, occurrences in texts, successful conversion and generational devotion solidified her status as a national religious iconic symbol. The images over the centuries are all fairly similar in their depictions, serving the agenda of conversion and instilling the faith and spirituality of the people.

# data[].attributes.headline
Portrait of the Artist as the Virgin of Guadalupe, 1978

# data[].attributes.subject
Portrait of the Artist as the Virgin of Guadalupe, 1978

# data[].attributes.body
Yolanda Lopez
Portrait of the Artist as the Virgin of Guadalupe, from the Guadalupe Series,  1978
Oil Pastel on Rag Paper
30 x 22 in.

As the Virgin of Guadalupe launched into the 20th century, the idealized image of the Virgin and the fetishization of the icon became problematic for the Mexican and Latina/o/x people; as attaining the level of beauty, purity and morality was increasingly difficult for a rapidly modernizing population. Modernization was necessary to continue association and connection with the Virgin of Guadalupe. Yolanda Lopez adopted the symbol of the Virgin of Guadalupe by imposing herself into the narrative. The Virgin became a symbol of modern Chicana femininity as well as resistance, communicated by the figure stepping on the American angel, contesting American imperialism and racism. She is holding a snake which was an important image to the Aztecs, paying homage to the indigenous origins.  Her head is upright, in defiant opposition to the original portrayal of the Virgin. Yolanda's series was met with critique due to people believing this was disrespectful to the religious figure and the divinity of her image. This was a vital and necessary adaptation to the icon; as it essentially paved the way for modernization of the figure and to re-appropriate representation for the modern Latin population.

# data[].attributes.body
Yolanda Lopez
Walking Guadalupe, 1978
Mixed-Media Collage
6 x 10 in.

The Walking Guadalupe by Yolanda Lopez further elaborates on the problematic fetishization of the Virgin. By depicting the Virgin in high heels with bare legs, she has sexualized the figure, while keeping the virtuosity of her downcast gaze and hands clasped in prayer. Yolanda illustrated the Virgin in this way because she wanted to have the Virgin walk, whereas she is previously bound by cloth and immobile. The modern Chicana woman could connect with the Walking Guadalupe, as her  modernized image relates to the contemporary working woman.

# data[].attributes.body
Delilah Montoya
La Virgen, 1998

Gelatin Silver Print

23 × 21 in.

Edition 1/1

La Virgen is a series by Delilah Montoya which consists of photographs of The Virgin of Guadalupe tattooed on Chicana/Chicano bodies, a modern interpretation and deeper level of devotion to the icon, due to the permanence of tattooing the imagery on the body. The artist depicts the subject with her face covered, choosing anonymity as a commentary on racism and oppression. Much like the Virgin of Guadalupe tattoo on the subjects back, the artist places the subject in an environment surrounded by cactus and other recognizable native plants, as well as a billowing dark cloak, and veil. Using a monochromatic scheme highlights the stark contrast between the cloak, veil, tattoo ink and the subjects skin. Illustrating the modernization of La Virgen is seen through the portrayal of skin, and the subjects head is upright and confident, in a display of strength and resilience, an essential element of the modernization of the icon. The sacred Virgin being implemented to the sacred body of the subject adds a layer of devotion and reverence. As a feminist Chicana artist, Montoya modernizes the reverent depiction of the Virgin by praising the female form, the ultimate symbol of strength and resilience.

# data[].attributes.body
Alma Lopez
Our Lady, 1999

Digital Print

Alma Lopez inserts herself directly into the narrative of the Virgin of Guadalupe with her 1999 image, Our Lady, to demonstrate her own personal relationship with the icon. Debuted during Holy Week, this artwork was harshly criticized for being sacrilegious. As a feminist queer Chicana artist, Lopez inserts herself into the narrative to remove the reverence surrounding the Virgin, making the icon human and flawed in order to connect with the image. The Virgin is to remain forever chaste and holy, and this modern depiction of the Virgin played on the dichotomy of the Virgin and the whore. Our Lady's gaze is dominant and direct, hands upon her hips, sheathed in roses, with a bare breasted angel below her feet. Her head is tilted up and upright, a direct opposition to the demure downcast eyes of the Virgin, making her confrontational rather than approachable. This image is a celebration of the female figure and form, capturing the modern Chicana experience.

# data[].attributes.body
Esther Hernandez
La Virgen de las Calles, 2001
Museum Quality Digital Print
26.5" x 20"

La Virgen de las Calles plays homage to the Virgin of Guadalupe icon and inserts the modern Chicana laborer into the narrative by depicting a woman selling flowers on the street. Esther Hernandez portrayed a contemporary immigrant woman, selling flowers to better the life of her and her family. La Virgen remains shrouded in the cloak, yes instead of being surrounded by flowers as a sacred symbol, La Virgen is selling the flowers. She still uses the primary colors of red, yellow and blue as the original Virgin. La Virgen de las Calles wears a USA sweatshirt, a critique on American Imperialism. Esther depicts the modern immigrant Chicana woman as a realistic figure, humanizing the Virgin, and to offer respect, highlighting her perseverance and dignity.

# data[].attributes.body
Marion Martinez
Virgen de Guadalupe, 2003
Wall Hanging, E-waste
18.5" x 7.5" x 1.25"

Marion Martinez uses the material of E-Waste, which is readily available to her as it's the waste of her generation. Using this materiality in her depiction of the Virgen de Guadalupe brings the icon to the 21st century and into the modern age. By respecting the original adaptation and icon, complete with the halo, shrouded in the veil, and surrounded by roses, Marion brings the icon into modern times while still treating the story and image with reverence. The artist adapts the icon of the Virgin of Guadalupe narrative with the choice of modern materiality, as an homage to the original Virgin, where that artist's materiality spoke to what was present and available. Through this connection, the artist is speaking to the humility of the original adaptation.