Susan Verdi Webster
Biographic Data
| ID | 4972456 |
|---|---|
| NAME | Susan Verdi Webster |
| GIVEN NAMES | Susan Verdi |
| FAMILY NAME | Webster |
| SIGNATURE | WEBSTER S V |
| AFFILIATIONS | William & Mary |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Lettered Artists and the Languages of Empire. Painters and the Profession in Early Colonial Quito
The Art of Painting in Colonial Bolivia / El arte de la pintura en Bolivia colonial
The Art of Painting in Colonial Bolivia / El arte de la pintura en Bolivia colonial. An article from journal Renaissance and Reformation / Renaissance et Réforme (Volume 42, Number 2, Spring 2019, pp. 7-270), on Érudit
Mateo Mexía and the Languages of Painting in Early Colonial Quito
This study offers a reassessment of the life and work of the early colonial Quito painter Mateo Mexía in light of largely unpublished documentary sources and close consideration of the materiality, styles, and techniques employed in his paintings. A conspicuously lettered painter, Mexía dominated both the pen and the brush. The evidence reveals Mexía as a pictorial innovator and a principal exponent of the linguistic pluralism, in both visual and…
Of Signatures and Status
The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequ…
Native Brotherhoods and Visual Culture in Colonial Quito (Ecuador)
Vantage Points
The Devil and the Dolorosa
One of the most popular and enduring legends in the Andean city of Quito recounts the vivid tale of a young Indian named Francisco Cantuña, the son of a powerful Inca captain, who lived and died in the sixteenth century. Maimed and horribly disfigured when the Inca general Rumiñahui burned the city of Quito, Cantuña was present when the general hid the treasure of Atahualpa before the arrival of the conquering Spaniards. In the aftermath of occup…
Art, Identity, and the Construction of the Church of Santo Domingo in Quito
The recent rediscovery of an early seventeenth-century mural painting hidden beneath an eighteenth-century painting on canvas on the nave crossing arch of the Church of Santo Domingo provides striking visual evidence of individual and corporate identities and shifting devotional contexts at the Dominican monastery. Complementing and clarifying the visual evidence in the paintings, recently recovered archival documents confirm the identities, role…
The Architect and the Construction of the Church of El Sagrario in Quito
Art Ritual, and Confraternities in Sixteenth Century New Spain. Penitential Imagery at the Monastery of San Miguel, Huejotzingo
During the sixteenth century in New Spain, the celebration of some Christian feasts, especiality Holy Week and Corpus Christi, was much more complex than any of the dramatic rites of Late Medieval Spain. Theater, architecture, and sculpture were used by the mendicant orders, and by the confraternities associated to them, to reinforce instruction. Mural painting was used to chronicle these celebrations as well as to remind the faithful of their re…
Velázquez, Los Borrachos, and Painting at the Court of Philip IV
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Devil and the Dolorosa
One of the most popular and enduring legends in the Andean city of Quito recounts the vivid tale of a young Indian named Francisco Cantuña, the son of a powerful Inca captain, who lived and died in the sixteenth century. Maimed and horribly disfigured when the Inca general Rumiñahui burned the city of Quito, Cantuña was present when the general hid the treasure of Atahualpa before the arrival of the conquering Spaniards. In the aftermath of occup…
Of Signatures and Status
The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequ…
Vantage Points
Velázquez, Los Borrachos, and Painting at the Court of Philip IV
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Art Ritual, and Confraternities in Sixteenth Century New Spain. Penitential Imagery at the Monastery of San Miguel, Huejotzingo
During the sixteenth century in New Spain, the celebration of some Christian feasts, especiality Holy Week and Corpus Christi, was much more complex than any of the dramatic rites of Late Medieval Spain. Theater, architecture, and sculpture were used by the mendicant orders, and by the confraternities associated to them, to reinforce instruction. Mural painting was used to chronicle these celebrations as well as to remind the faithful of their re…
The Architect and the Construction of the Church of El Sagrario in Quito
Art, Identity, and the Construction of the Church of Santo Domingo in Quito
The recent rediscovery of an early seventeenth-century mural painting hidden beneath an eighteenth-century painting on canvas on the nave crossing arch of the Church of Santo Domingo provides striking visual evidence of individual and corporate identities and shifting devotional contexts at the Dominican monastery. Complementing and clarifying the visual evidence in the paintings, recently recovered archival documents confirm the identities, role…
The Devil and the Dolorosa
One of the most popular and enduring legends in the Andean city of Quito recounts the vivid tale of a young Indian named Francisco Cantuña, the son of a powerful Inca captain, who lived and died in the sixteenth century. Maimed and horribly disfigured when the Inca general Rumiñahui burned the city of Quito, Cantuña was present when the general hid the treasure of Atahualpa before the arrival of the conquering Spaniards. In the aftermath of occup…
Vantage Points
Native Brotherhoods and Visual Culture in Colonial Quito (Ecuador)
Of Signatures and Status
The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequ…
Mateo Mexía and the Languages of Painting in Early Colonial Quito
This study offers a reassessment of the life and work of the early colonial Quito painter Mateo Mexía in light of largely unpublished documentary sources and close consideration of the materiality, styles, and techniques employed in his paintings. A conspicuously lettered painter, Mexía dominated both the pen and the brush. The evidence reveals Mexía as a pictorial innovator and a principal exponent of the linguistic pluralism, in both visual and…
The Art of Painting in Colonial Bolivia / El arte de la pintura en Bolivia colonial
The Art of Painting in Colonial Bolivia / El arte de la pintura en Bolivia colonial. An article from journal Renaissance and Reformation / Renaissance et Réforme (Volume 42, Number 2, Spring 2019, pp. 7-270), on Érudit
Lettered Artists and the Languages of Empire. Painters and the Profession in Early Colonial Quito
Art (11 works) · History (10 works) · Art history (9 works) · Latin American history and culture (9 works) · History (7 works) · Painting (7 works) · Archaeology (6 works) · Colonialism (6 works) · Historical Art and Architecture Studies (5 works) · Historical Studies in Latin America (5 works)