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The Snite Museum of Art Receives Long-Term Loans of Spanish Colonial Art from the Carl & Marilynn Thoma Art Foundation

Author: Gina Costa

The Snite Museum of Art Receives Long-Term Loans of Spanish Colonial Art from the Carl & Marilynn Thoma Art Foundation

 

Notre Dame, IN: The Snite Museum of Art installed recent loans from the internationally renowned Carl & Marilynn Thoma Art Foundation. Three paintings dating from the seventeenth and eighteenth centuries, drawn from the Foundation’s extraordinary holdings, complement the Museum’s existing collection of Spanish Colonial works to expand our understanding of the period.

 

This new loan follows an earlier one from the Thoma Foundation of thirteen works that were shown in the 2020 exhibition Divine Illusions: Statue Paintings from Spanish Colonial Peru, organized by Professor Michael Schreffler of the University of Notre Dame’s Department of Art, Art History & Design. In 2023 When the new Raclin Murphy Museum of Art debuts in 2023, the University will receive five different works from the Foundation to replace the three currently exhibited. Those loans are slated to extend through 2026.

 

“The Thoma family have become very good, trusted friends of the Museum. It is an honor to host masterpieces from their extensive collection that can be appreciated, studied, and nourish us all,” said Joseph Antenucci Becherer, director of the Snite Museum of Art.

 

"The paintings on loan from the Thoma Art Foundation are windows into a fascinating world of social interaction and Christian devotion in Spanish Colonial South America. Our students and all visitors to the Snite will benefit from the unique opportunity to study and reflect on these visually compelling works of religious art" notes Michael Schreffler, Professor of Art History at the University of Notre Dame.

 

Image 1) Gregorio Vásquez de Arce y Ceballos, Allegory of the Eucharist with the Virgin Mary and Saints, c. 1670s, Oil on canvas. Courtesy of the Carl & Marilynn Thoma Art Foundation. (photo: Jamie Stukenberg) 

Most paintings from colonial South America are unsigned. However, a few artists did sign their works, enabling experts to attribute unsigned works to their hands. One such known artist is Gregorio Vásquez de Arce y Ceballos (1638–1711), whose oeuvre is considerable. His Allegory of the Eucharist, which was probably based on an engraving, portrays the Catholic doctrine of transubstantiation in which the bread and wine of the Eucharist is transformed into the body and blood of Christ.

 

Image 2) Unidentified artist, Virgin of the Immaculate Conception with Saints, Angels and Indigenous Donor, 18th century, Oil and gold on canvas. Courtesy of the Carl & Marilynn Thoma Art Foundation. (photo: Jamie Stukenberg)

This painting of the Virgin of the Immaculate Conception follows the traditional iconography of the central figure by showing the Virgin clothed in a white tunic covered by a blue mantle. Satan, as a serpent with a human face, lies vanquished on the ground. At the top of the canvas are the four Evangelists—Saints Matthew, Mark, Luke, and John—shown holding ribbons inscribed with four of the symbols of the Virgin’s immaculacy: the Tower of David, the Temple of Solomon, the City of God, and the Spotless Mirror. She is accompanied by a variety of saintsAt lower right is a portrait of the donor, an indigenous woman who must have been a member of an important clan.

 

Image 3) Cipriano de Toledo y Gutiérrez, Our Lady of Mercy with Saints, 1764, Oil and gold on canvas. Courtesy of the Carl & Marilynn Thoma Art Foundation. (photo: Jamie Stukenberg) 

In 1997, the Thoma Foundation acquired a version of this subject, Our Lady of Mercy with Saints, that was dated 1771, but bore no signature. More recently, another version of the subject was acquired by the Foundation. That painting, like yet another painting in a French private collection, is signed by Cipriano de Toledo y Gutiérrez. The existence of the three nearly identical paintings—with others possibly extant—tell us a great deal about the workshop practices of Cuzco painters. Although much has been written about works created for the art market, two of these three works were clearly commissioned by devotees of Our Lady of Mercy and the Mercedarian order. This multifigured composition may well have been based on an engraving.

 

Thoma Images

 

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Snite Museum of Art welcomes Dr. Jared Katz, new Associate Curator of the Americas and Africa

Author: Gina Costa

Katz Cropped

Notre Dame, IN: The Snite Museum of Art at the University of Notre Dame is thrilled to announce the appointment of Dr. Jared Katz to the position of Associate Curator of the Americas and Africa. Dr. Katz comes to the Snite Museum from the Denver Art Museum, where he served as Consulting Curator for the Art of the Ancient Americas. Additionally, he taught at the University of Denver. Katz has a doctorate in Anthropology from the University of California, Riverside.

 

At the Museum, Katz will initially focus on the reinstallation of the Mesoamerican and Native American galleries. After the new Raclin Murphy Museum of Art opens, he will work on a myriad of exhibitions on the Ancient Americas, and continue research on the Museum’s renowned collections.

 

“The Museum is honored to welcome Dr. Katz to the staff. His enthusiasm, innovative spirit, and scholarship are deeply appreciated. This is a dynamic moment of growth  for the Museum as we work towards the transformation of the Snite to the Raclin Murphy Museum of Art. We know Dr. Katz is destined to contribute greatly to that dynamism.” Joseph Antenucci Becherer, director of the Snite Museum.

 

Dr. Katz shares: “I am delighted to be joining the staff at the Snite Museum of Art. As a specialist in ancient Mesoamerican cultures, I am particularly excited to be working with the robust and high-caliber collection of Formative period artworks at the Museum. As a curator, I am committed to designing galleries and exhibitions that help Museum guests to relate and empathize with people from the past and present. I rely on an inclusive approach that elevates a diversity of voices and perspectives in order to make museums more  accessible and engaging. To accomplish these goals, I look forward to having meaningful collaborations with my colleagues in the Museum, throughout the University of Notre Dame, and more broadly throughout the regional and national communities.”Jared Katz

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