Observations on Miguel Cabrera after the Conservation of One of His Casta Paintings

Research Article| April 02 2019 Observations on Miguel Cabrera after the Conservation of One of His Casta Paintings Joseph Fronek Joseph Fronek 1Los Angeles County Museum of Art Joseph Fronek—is head of paintings conservation at the Los Angeles County Museum of Art. He contributed to Nineteenth-Century Art in the Norton Simon Museum (Yale University Press, 2006) and Masterpiece in Focus: The Raising of Lazarus by Rembrandt (Los Angeles County Museum of Art, 1991). The Lampadia Foundation sponsored him to assess conservation practices and train conservators in Argentina, Brazil, and Chile. Search for other works by this author on: This Site PubMed Google Scholar Joseph Fronek—is head of paintings conservation at the Los Angeles County Museum of Art. He contributed to Nineteenth-Century Art in the Norton Simon Museum (Yale University Press, 2006) and Masterpiece in Focus: The Raising of Lazarus by Rembrandt (Los Angeles County Museum of Art, 1991). The Lampadia Foundation sponsored him to assess conservation practices and train conservators in Argentina, Brazil, and Chile. Latin American and Latinx Visual Culture (2019) 1 (2): 122–130. https://doi.org/10.1525/lavc.2019.120007d Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Joseph Fronek; Observations on Miguel Cabrera after the Conservation of One of His Casta Paintings. Latin American and Latinx Visual Culture 2 April 2019; 1 (2): 122–130. doi: https://doi.org/10.1525/lavc.2019.120007d Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search In 1763, the highly regarded Mexican painter Miguel Cabrera (c. 1715–1768) created sixteen paintings of castas (castes) in the New World. Signed by the artist on the first and the sixteenth canvas “Mich. Cabrera pinxit, Mexici, Anno 1763,” the set surfaced in Spain in the twentieth century, and is now divided among various locations.1 It seems that the artist painted only one set of castas, but it is an extraordinary and visually remarkable group. Even though the genre had been developing for approximately a half-century, Cabrera’s sixteen compositions are original and packed with items such as apparel to describe race and social status.2 Two missing paintings from Cabrera’s set of castas recently came to light in California, one of which was acquired by the Los Angeles County Museum of Art in 2014. The painting, 6. From Spaniard and Morisca, Albino Girl, is exceptional (Figure 1... You do not currently have access to this content

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