Saturday for Educators
SATURDAY FOR EDUCATORS
NOVEMBER 1,
2014
NO VEM BE R 1 , 2 0 1 4
RESOURCE &
ACTIVITY
GUIDE
1
NO V EM BE R 1 , 2 0 1 4
CONTENTS
W elcom e, educator s!
About the Exhibition
2
2
An Intr oduction to Spanish Am erica
Using T his Guide
3
3
exhibition, Behind Closed Doors: Art in
Art Objects Tell U s About Life in the Past
4- 6
the Spanish American Home, 1492-1898,
Art Objects Express Identity and Status
7- 8
this guide will introduce you to the
Art Objects Illustrate C ultur al Exchange
9- 10
The Ringling is pleased to offer you
this resource and activity guide.
Designed to accompany the special
opulent world of Spanish colonial
homes in the Americas. The activities
Appendix
11- 20
described within, along with the
C om par ing Room s worksheet
12
worksheets and resources provided,
Act of Independence of the Mexican E m pir e
The Legend of Manco C apac
13
13
understanding of this fascinating
Inform ation Sheet: Don Juan Xavier
14
period in history and of the power that
Many C ultur es, One Land w or ksheet
15- 16
Inform ation Sheet: T upus
17
Glossary
18
For F urther Lear ning
Im age C r edits
19
19
About T he Ringling
Upcom ing Saturdays for E ducator s
20
20
can bring your students to a deeper
decorative art objects have to speak to
us from the past.
We invite you to bring your students to
experience the exhibition, which will be
on view through January 11, 2015.
Behind Closed Doors: Art in the Spanish American Home, 1492-1898 is the first major exhibition in the United States
to explore the private lives and interiors of Spain’s New World elite. Through approximately 160 paintings,
sculptures, prints, textiles, and decorative art objects, this exhibition presents luxury goods from everyday life as
signifiers of the wealth, taste, and socio-racial standing of their consumers.
Behind Closed Doors consists of works from the Brooklyn Museum’s collections as well as loans
from distinguished institutions and private collectors. The exhibition is organized by Richard
Aste, Curator of European Art, Brooklyn Museum. At The Ringling, the exhibition was paid for in
part by Sarasota County Tourist Development Tax revenues and through the generous support of the Arthur F.
and Ulla R. Searing Endowment and the John and Mable Ringling Museum of Art Foundation.
NO VEM BE R 1 , 2 0 1 4
Spanish America refers to the region of the Americas once ruled by the Spanish crown. Beginning with
Columbus’s first contact in 1492, Spain proceeded to conquer much of present-day Mexico, Central and South
America, the Caribbean, and the southern United States. Though ultimately subject to the Spanish king, colonies
in Spanish America were governed by royal representatives called viceroys and were divided into the viceroyalties
of New Spain (Mexico and Central America) and Peru (all of South America except Brazil). The vast holdings of
land and abundant natural resources in these territories produced unprecedented wealth for Spain and its
colonial administrators. Like their counterparts in Europe, high-ranking Spanish Americans purchased luxury
goods to display their wealth and status to others. These decorative art objects form the core of this exhibition.
Key Dates in Spanish American History
1492
Columbus lands in the Bahamas
1535
Viceroyalty of New Spain founded
1542
Viceroyalty of Peru founded
1571
Manila Galleon first sails between
Philippines and New Spain
1750
Population of Mexico City
exceeds that of Madrid
1898
Spanish-American War ends
Spanish rule in the Americas
In keeping with the major themes of the exhibition, this guide is organized around three central ideas:
-
Art objects tell us about life in the past
-
Art objects express identity and status
-
Art objects illustrate cultural exchange
For each of these concepts, brief activity descriptions are given for elementary, middle, and high school-aged
students. Most of the activities are designed to work equally well in the exhibition galleries themselves or in the
classroom, and some require time in each setting. Included in the appendix at the end of the guide are
worksheets and other resources mentioned in the activity descriptions. Teachers are encouraged to adapt the
suggested activities to suit the needs of their students.
NO V EM BE R 1 , 2 0 1 4
Throughout history, individuals with the means to do so have filled their homes with furniture, dishes, and other
objects of fine craftsmanship and costly materials. These luxury goods are not only beautiful to look at, they can
help us understand the tastes, concerns, and lives of those who owned them. By analyzing these visual artifacts
alongside information taken from written texts, we can gain insight into the lives of those who lived in the past.
GOAL
ACTIVITY
To analyze a
Take students to see the Bolivian water heater (pava) on view in the exhibition. (Or, if
decorative art object
in the classroom, view online at brooklynmuseum.org.) Before offering any
in terms of what it
information, ask students to describe the appearance of this decorative art object.
can tell us about life
Encourage thorough description by asking:
during a particular
time period.
DURATION
20 minutes
STANDARDS
SS.3.A.1.1 SS.5.A.1.1
LAFS.3-5.SL.1.1
-
What might this be made from?
How old do you think it is? Why?
What shapes and forms do you see?
How might this have been used?
Who might have owned something like this?
After students have described the object, offer them the following additional pieces
of information. After you share each fact, ask students how that new knowledge
changes their understanding of the object. What can they infer about the object
based on each new fact? What can they infer about the culture that created it?
LAFS.3-5.SL.2.4
-
VA.3.H.2.2
-
This was made in Bolivia about 250 years ago.
It was used to heat water for making a special drink called maté, which
people in Spanish America drank with friends and family.
It is made of silver.
VA.3-5.C.1.2
FOLLOW UP
Have students think of a decorative art object that they use in their own home.
Students should describe their chosen object to a friend, incorporating the same
types of details discussed above. If someone found that object 250 years from now,
what might it tell them about us and our lives in 21st-century Florida?
NO VEM BE R 1 , 2 0 1 4
GOAL
ACTIVITY
To understand similarities and
Bring students into the estrado (the women’s sitting room) section of the
differences between life in
exhibition. Explain that this room was used to spend time with friends and
Spanish America and our lives
other visitors who came to the home. Ask: Is there a room in your home
today.
that you spend time in with guests when they come over to visit? As
students explore the objects that would be used in the estrado, have them
DURATION
complete the Comparing Rooms worksheet. For comparison, they should
select a room in their own home that is often used for entertaining guests.
30-40 minutes
MATERIALS
FOLLOW UP
Comparing Rooms worksheet
When students finish their worksheets, discuss as a class: What were the
(see appendix); pencils
biggest differences between the Spanish Colonial room and their own
rooms? Based on what they saw in the estrado, how might life in Spanish
STANDARDS
America have been different from their lives today? How might it have
LAFS.6-8.SL.1.1
been similar?
SS.6.W.1.3 / SS.8.A.1.7
VA.68.H.2.2
Asistencia
Sala
Alcoba
State
bedroom
Introduction
Oratorio
Dosel
Family room
Private chapel
Salón de
Timeline
Estrado
LAYOUT OF THE EXHIBITION
The galleries are arranged like
rooms in a Spanish Colonial home.
NO V EM BE R 1 , 2 0 1 4
GOAL
ACTIVITY
To use visual and written
Take students to the portrait of Don José María Gómez de Cervantes y
sources to better understand
Altamirano de Velasco. Ask: What kind of person do you think this is? What
the growth of an
do you see that makes you say that?
independence movement in
Spanish America.
DURATION
30-45 minutes
MATERIALS
Explain that Don José María was born into a powerful criollo family in New
Spain. As a young man, he showed his allegiance to the King of Spain by
applying for membership in a royal order, an honor that was not often
afforded to criollos. Ask: In this image, how does Don José María emphasize
his European heritage over his Mexican identity?
Show students the Act of Independence of the Mexican Empire on view in the
exhibition and pass out copies of the translation. After students have a
Translation of Act of
chance to read and interpret the text, explain that Don José María eventually
Independence of the Mexican
sided with the Mexican independence movement and signed this document.
Empire (see appendix)
Ask: What might have caused him to change his allegiance?
STANDARDS
Examine the nearby painting, Virgin of Guadalupe. Discuss what is shown in
the image – is it a real scene, or something from a vision? Then, have
LAFS.910-1112.RI.1.1
students research the legend of the Virgin of Guadalupe and its role as a
LAFS.910-1112.RI.4.10
symbol of Mexican nationalism that contributed to the growth of the
LAFS.910-1112.RH.3.9
independence movement.
SS.912.W.1.3
SS.912.W.5.7
SS.912.H.1.2
VA.912.H.1.8
FOLLOW UP
Have students research other factors that contributed to the desire for
independence among the residents of Spanish America. Can they find other
examples of visual imagery playing a role in independence movements in
the New World?
NO VEM BE R 1 , 2 0 1 4
The elites of Spanish America accumulated tremendous wealth from the abundant natural resources of their
colonies. They used these riches to buy paintings, textiles, and decorative objects that would announce their
high rank and “pure” lineage to those around them (and to any visiting dignitaries from Spain). Other members
of this hierarchical society – including descendants of the former indigenous elites and persons of mixed
European and indigenous parentage – were also concerned with their social standing and racial identity, which
was often expressed in works of art.
GOAL
ACTIVITY
To understand how portraiture
Show students the portraits of the fourteen Inca kings, which are located
can send a message about
near the entrance to the exhibition. Have students find the portrait of Manco
someone’s ancestry.
Capac, the legendary founder of the Inca Empire. Ask: What kind of person
do you think this is? What did the artist do to show that this man is special?
DURATION
20 minutes
MATERIALS
Read aloud The Legend of Manco Capac. What details from the story are also
present in this picture?
Explain that this painting was made over 500 years after Manco Capac’s
time, and that it was made for someone whose ancestors had been rulers of
The Legend of Manco Capac
the Inca Empire. Ask: Why might someone want to own a picture of Manco
(see appendix); drawing
Capac so many centuries after he lived?
materials
STANDARDS
SS.3.A.1.1 / SS.3.G.2.6
This image of Manco Capac would have been displayed in the salon del
dosel, the room that was reserved to honor the Spanish king and the family’s
heritage. What does this say about the owners’ feelings toward Manco
Capac?
SS.3.G.4.2 / SS.5.A.1.1
LAFS.3.SL.1.3
VA.3-5.O.3.1
FOLLOW UP
Have students ask their parents or grandparents about their own ancestors.
Are there any ancestors in their past that the family is particularly proud of?
Have students draw a portrait (either real or imaginary) of one ancestor that
they would like to commemorate.
NO V EM BE R 1 , 2 0 1 4
GOAL
ACTIVITY
To examine how portraits
View the portrait of Don Juan Xavier Joachín Gutiérrez Altamirano Velasco.
communicate identity.
Explain that Don Juan Xavier was a high-ranking Spanish noble in the New
World. Ask: How is Don Juan Xavier portrayed in this image? What might the
DURATION
shield in the corner and the large inscription mean?
45 minutes
Pass out copies of the information sheet on this painting. After students
read about the coat of arms and genealogy inscription, ask: What do you
MATERIALS
Info sheet on Don Juan Xavier
think Don Juan Xavier wanted this portrait to say about him? Why do you
think he placed so much importance on his lineage?
Joachín Gutiérrez Altamirano
Velasco (see appendix)
STANDARDS
FOLLOW UP
Have students draw self-portraits that send a message about who they are.
They can include their own coat of arms, designed with symbols
SS.8.A.1.2 / SS.8A.1.7
representing their family, and an inscription that lists important ancestors or
VA.68.C.3.3 / VA.68.S.1.3
facts about their background.
GOAL
ACTIVITY
To examine the role of casta
Show students the casta painting, From Spanish and Indian, Mestizo. Ask:
paintings in Spanish America.
What’s going on in this painting? Discuss the clothing that the figures are
wearing. Which garments look more European, and which ones remind
DURATION
them of indigenous clothing? What does that tell us about these individuals?
60 minutes
Explain that this painting was made in Mexico for export to Spain, where it
would illustrate to European audiences the sistema de castas (caste system)
MATERIALS
Access to print or internet
that existed in the New World. This system ascribed a particular identity to
people based on race – whether they wanted it or not.
sources for research
FOLLOW UP
STANDARDS
Have students use print or internet sources to learn more about the sistema
LAFS.910-1112.SL.1.1
de castas. What stereotypes did it spread about different groups of people?
SS.912.A.1.4 / SS.912.H.1.2
Where do stereotypes still exist today?
VA.912.H.1.1
NO VEM BE R 1 , 2 0 1 4
When the Spanish arrived in the Americas, they encountered cultures with their own rich art-making traditions,
as well as complex systems of government and religious belief. During 400 years of Spanish rule, these
indigenous traditions would both influence and be influenced by styles and ideas brought over from Europe. The
global nature of the Spanish empire meant that the Americas also saw trade from Asia, making for an active
exchange of cultures that can be seen in the artistic production of the period.
GOAL
ACTIVITY
To find examples of various
Explain to students that Spanish America was home to a mixture of cultures
cultural traditions coexisting
from around the world, including European, indigenous American, and Asian.
in the art of Spanish America.
The art produced during this time period shows designs, ideas, and materials
from all of these cultures. Distribute the Many Cultures, One Land worksheet
DURATION
and have students complete it as they explore the exhibition.
20-30 minutes
MATERIALS
Many Cultures, One Land
worksheet (see appendix)
STANDARDS
SS.3.G.4.3 / SS.3.G.4.4
VA.3-5.H.2.1
FOLLOW UP
Share students’ worksheet answers as a class. Did they find anything that
surprised them? Were there any objects on the list that combined elements
from more than one culture?
Explain that the United States is also home to people from many cultural
backgrounds. Where can we see art and ideas from other cultures around us
today?
Spa nis h & Portuguese T ra de Routes, 16 t h c entury
Sourc e: http:/ / en.w ikipedia.org/ w iki/ Ma nila_ galleon
NO V EM BE R 1 , 2 0 1 4
GOAL
ACTIVITY
To see how artists working in
Show students the silver tupu pins and ask: What do you think these were
one cultural tradition use
used for? What are they made of? Who might have owned them? What
designs from another culture.
kinds of designs do you see on these objects?
DURATION
45-60 minutes
Distribute the information sheet and discuss the purpose of tupus and who
would have used them. Point out that the double-headed eagle was not a
traditional Andean design, but was copied from Europeans. Ask: What
stylistic differences do you notice between the European eagle and the
MATERIALS
Tupu information sheet (see
Peruvian version? Can you think of other times a design from one culture
was adapted by another?
appendix); aluminum foil;
glue; paper plates; clothespins
STANDARDS
SS.6.W.1.3 / SS.8.A.1.7
FOLLOW UP
In the classroom, have students use aluminum foil and glue to create
modern, cross-cultural versions of the tupu, incorporating designs or motifs
that are popular in our own time.
VA.68.C.3.1 / VA.68.H.3.3
GOAL
ACTIVITY
To examine the various ethnic
Show students the painting, A Merry Company on the Banks of the Rimac
groups that influenced the
River, which depicts wealthy Lima residents enjoying a day of leisure.
culture of Spanish America.
Discuss the figures in the painting. Are all of them members of the elite?
How can you tell? What other types of people are present?
DURATION
60 minutes
Explain to students that the Spanish were not the only group to have an
impact on culture in the New World. Indigenous peoples, Africans, other
Europeans and Asians also influenced art and life in Spanish America.
MATERIALS
Access to print or internet
sources for research
STANDARDS
LAFS.910-1112.WHST.3.8
SS.912.H.3.3
FOLLOW UP
Have students research a country from Spanish America to learn about the
make-up of its population and which ethnic groups would have been
present there during the colonial period. What influence have indigenous
and other peoples had on the culture of that country?
NO VEM BE R 1 , 2 0 1 4
NO V EM BE R 1 , 2 0 1 4
In wealthy Spanish American households, women spent their time entertaining guests in the estrado, a special
sitting room. In the exhibition, you can see objects that women would use in the estrado. As you look at them,
think about how you entertain friends and family in your own home. Think of a room where you spend time with
guests, and compare it to the estrado by finding the objects below. Draw a picture of each object in the space
provided. Then, draw an example of a modern version that you use in your home.
THE ESTRADO
Something for serving
snacks
Something for storing
small items like
games or writing
utensils
Something for
drinking tasty
beverages
Something to gather
around to talk, play
games, or eat
Something that
creates privacy by
separating the room
from the rest of the
household
ROOM IN MY HOUSE: ____________________
NO VEM BE R 1 , 2 0 1 4
Text of the declaration translated from the original Spanish
Declaration of the independence of the Mexican Empire, issued by its Sovereign Junta, assembled in the Capital
on September 28, 1821.
The Mexican Nation, which for three hundred years has neither had its own will, nor free use of its voice, leaves
today the oppression in which it has lived. The heroic efforts of its sons have been crowned today, and
consummated is an eternal and memorable enterprise, which a spirit superior to all admiration and praise, out
of love and for the glory of its Country started in Iguala, continued, and brought to fruition, overcoming almost
insurmountable obstacles.
Restored then this part of the North to the exercise of all the rights given by the Author of Nature and recognized
as unalienable and sacred by the civilized nations of the Earth, in liberty to constitute itself in the manner which
best suits its happiness and through representatives who can manifest its will and plans, it begins to make use
of such precious gifts and solemnly declares by means of the Supreme Junta of the Empire that it is a
Sovereign nation and independent of old Spain with which henceforth it will maintain no other union besides a
close friendship in the terms prescribed by the treaties; that it will establish friendly relationships with other
powers, executing regarding them whatever declarations the other sovereign nations can execute; that it will
constitute itself in accordance to the bases which in the Plan of Iguala and the Treaty of Córdoba the First Chief
of the Imperial Army of the Three Guarantees wisely established and which it will uphold at all costs and with all
sacrifice of the means and lives of its members (if necessary); this solemn declaration, is made in the capital of
the Empire on the twenty-eighth of September of the year one thousand eight hundred and twenty-one, first of
Mexican Independence.
Long ago, Inti, the Sun God, sent his son Manco Capac to earth to found a great city.
Inti gave Manco Capac a gold scepter and told him to tap the scepter on the ground
as he walked through the mountains. The spot where the scepter sank into the
ground, Inti said, would be the place Manco Capac should build his city.
After many days of walking through the mountains and tapping his scepter, Manco
Capac finally felt the scepter sink into the earth. He had found the spot! Manco
Capac built the city of Cuzco there, which became the foundation of the great Inca
Empire. The Inca people long remembered Manco Capac as their first king.
NO V EM BE R 1 , 2 0 1 4
Miguel Cabrera (Mexican, 1695-1768)
Don Juan Xavier Joachín Gutiérrez Altamirano Velasco,
Count of Santiago de Calimaya
ca. 1752
Oil on canvas
Brooklyn Museum, Museum Collection Fund and the
Dick S. Ramsay Fund, 52.166.1
LABEL TEXT:
Accompanied by a prominent heraldic escutcheon
that is larger than his face, the powerful Creole Don
Juan Xavier Joachín here poses in a dazzling
European-style costume and powdered wig
appropriate to his station. A lengthy inscription
emphasizes his court appointments, among them a
lifetime position as governor of the Philippines.
Spain began granting titles of nobility to elite
individuals in the New World shortly after the
European conquest.
Don Juan Xavier Joachín was a descendant of Luís
de Velasco, New Spain’s viceroy who, in addition to
inaugurating the first university in North America in
1553, freed 15,000 indigenous people from
domestic servitude and work in labor camps and
mines. Unlike many colonial officials of Spanish
birth, the viceroy considered himself a Creole.
Miguel Cabrera was one of the most important painters of eighteenth-century Mexico. In this portrait, he
emphasized the elaborate and expensive clothing his sitter wears in order to communicate Don Juan Xavier’s
status and lineage. As a descendant of the conquistador of the Philippines, Don Juan Xavier makes reference to
his family’s prestigious status in the Asian-inspired patterns on his coat and trousers. At the same time, his
powdered wig and three-cornered hat align him with the fashions of the European ruling class.
NO VEM BE R 1 , 2 0 1 4
The Spanish colonies in the Americas were places where people and goods from all over the world came
together. As a result, artists and craftsmen from different cultures borrowed ideas, designs, and materials from
one another.
For each object or design shown below, guess whether it came from Spain, from indigenous traditions, or from
Asia. Then, find each object in the exhibition and read the information on the label next to it. If your guess was
incorrect, write down the new answer you learned.
MY GUESS
OBJECT / IDEA / DESIGN
A folding screen to divide a room
Drinking chocolate
Sitting on the floor around a tea
table
Mermaids as a decorative design
-
Spanish?
Indigenous?
Asian?
WHAT I LEARNED
NO V EM BE R 1 , 2 0 1 4
MY GUESS
OBJECT / IDEA / DESIGN
Large silver pins for fastening
clothing
Two-headed eagles as a decorative
design
Using pieces of shell to decorate a
flat surface
Sculptures made from ivory
Pictures of angels
-
Spanish?
Indigenous?
Asian?
WHAT I LEARNED
NO VEM BE R 1 , 2 0 1 4
TUPUS
The traditional dress worn by indigenous women of the
Andes region in Peru was an untailored garment called
an anacu. The dress was topped by a shawl called a lliclla
and fastened with one or more large silver pins, called
tupus. Tupus had large, ornamental heads that were
decorated with human or animal figures. During the
period of Spanish rule, female descendants of the original
Peruvian rulers wore anacus, llicllas, and tupus as status
symbols to assert their power and identity.
The designs on tupus included both traditional Andean
images like cats and royal wives as well as European
designs like flowers and birds. The double-headed eagle
on the tupu shown here has its roots in the symbols of
the Holy Roman Empire and was likely copied from the
coats of arms carried by
Spanish conquistadors.
Crest of Charles I, King of Spain
MAKE YOUR OWN TUPU
Use white glue to draw a design
Once the glue dries, cover the
Glue a clothespin to the back of
on a small paper plate.
plate with aluminum foil. Press
your plate. Now you’re ready to
down around the ridges left by the
wear your tupu pin!
glue to make your design show
through the foil.
NO V EM BE R 1 , 2 0 1 4
ENGLISH TERMS
Casta paintings
Paintings that depicted the racial subdivisions of colonial society in eighteenth-century
New Spain
Indigenous
Native to a particular place, such as the native peoples of Spanish America
Spanish America
The region of the Americas once ruled by the Spanish crown
Viceroyalty
A colonial territory governed by a royal representative but ultimately ruled by the Spanish
king. Original viceroyalties in Spanish America were New Spain (present-day Mexico) and
Peru (present-day South America).
SPANISH and INDIGENOUS TERMS
Anacu
A woman’s untailored dress worn by indigenous Andean peoples
Biombo
A folding screen used to divide a room; it derives from Japanese byobu screens
Criollo
“Creole,” A person of Spanish descent born in the Spanish American colonies
Estrado
The women’s sitting room, where female members of an elite household entertained their
visitors
Lliclla
A shawl worn over the untailored dress that was traditional for Andean women
Manco Capac
The legendary founding king of the Inca Empire
Maté
A stimulating tea-like beverage made from the leaves of a holly tree
Mestizo
A person of mixed Spanish and indigenous descent
Pava
A water heater and kettle used for preparing hot beverages, such as maté
Peninsular
A person of Spanish descent born in Spain
Sala
The grand reception room in a Spanish colonial home
Salón del Dosel
A room in the homes of the Spanish American ruling class; it housed an empty chair and
canopy to honor the Spanish king
Tupu
A large ornamental pin used to fasten a traditional Andean garment
NO VEM BE R 1 , 2 0 1 4
BOOKS
WEBSITES
Aste, Richard. Behind Closed Doors: Art in the Spanish
American Home, 1492-1898. Monacelli, 2013.
Leibsohn, Dana and Barbara Mundy, “Vistas: Visual
Bailey, Gauvin A. Art of Colonial Latin America.
London: Phaidon, 2005.
Burr, Claudia, Krystyna Libura, and Maria Cristina
Urrutia. When the Viceroy Came. Toronto: Douglas &
McIntyre, 1999.
Maestro, Betsy, and Giulio Maestro. Exploration and
Conquest: The Americas After Columbus, 1500-1620.
New York: Lothrop, Lee & Shepard, 1994.
Thompson, Linda. The Spanish in Early America. Vero
Culture in Spanish America, 1520-1820.”
www.smith.edu/vistas/
Winter, Barbara J. “¡Hola Canada! The Latin
American Collections at the Simon Fraser University
Museum of Archaeology and Ethnography.”
www.sfu.museum/hola/
Brooklyn Museum, “Exhibitions: Behind Closed
Doors.”
http://www.brooklynmuseum.org/opencollection/ex
hibitions/3292/
Beach, FL: Rourke Educational Media, 2014.
COVER Virgin. Philippines and possibly Mexico, Guatemala, or Ecuador, probably 18th century. Wood, ivory, pigment, gilding, gessoed cloth, and silver, 25 7/8 x 27 x
10 ¼ inches (65.7 x 68.6 x 26 cm); base: 9 ¼ x 14 ½ x 23 inches (23.5 x 36.8 x 58.4 cm).Brooklyn Museum, Frank L. Babbott Fund, 42.384.
PAGE 13 Manco Capac, First Inca, Peru, probably mid-18th century. Oil on canvas, 23 ½ x 21 11/16 inches (59.7 x 55.1 cm). Brooklyn Museum, Dick S. Ramsay Fund,
Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund; Gift of The Roebling Society and the American Art Council; purchased with funds
given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie
Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty
and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon, 1995.29.1
PAGE 14 Miguel Cabrera (Mexican, 1695-1768), Don Juan Xavier Joachín Gutiérrez Altamirano Velasco, Count of Santiago de Calimaya, circa 1752. Oil on canvas, 81
5
/16 x 53 ½ inches (206.5 x 135.9 cm). Brooklyn Museum, Museum Collection Fund and the Dick S. Ramsay Fund, 52.166.1
PAGE 15 Biombo with the Siege of Belgrade (front) and Hunting Scene (reverse), Mexico, circa 1697-1701. Oil on wood, inlaid with mother-of-pearl, 90 ½ x 108 5/8
inches (229.9 x 275.8 cm). Brooklyn Museum, Gift of Lilla Brown in memory of her husband, John W. Brown, by exchange, 2012.21; Jug, China, 1800-1810.
Porcelain, 10 ¼ inches (26 cm). Brooklyn Museum, Gift of the Wyckoff Family, 41.1212a-b; Low Estrado Table, Argentina, probably Buenos Aires, second half of the
18th century. Mahogany, 50 ½ x 28 ½ x 20 ¼ inches (128.3 x 72.4 x 51.4 cm). Brooklyn Museum, Frank L. Babbott Fund, Frank Sherman Benson Fund, Carll H. de
Silver Fund, A. Augustus Healy Fund, Caroline A. L. Pratt Fund, Charles Stewart Smith Memorial Fund, and the Ella C. Woodward Memorial Fund, 48.206.10;
Tapestry, Peru, Cajamarca, early 18th century. Camelid fiber, 77 ¾ x 67 ¾ inches (197.5 x 172.1 cm). Brooklyn Museum, Museum Collection Fund, 46.133.1
PAGE 16 Large Pin (Tupu), Peru, 17th-18th century. Silver. Brooklyn Museum, Museum Expedition 1941, Frank L. Babbott Fund, 41.1275.238, 41.1275.241,
41.1274.242; detail from Biombo with the Siege of Belgrade (front) and Hunting Scene (reverse), Mexico, circa 1697-1701. Oil on wood, inlaid with mother-of-pearl, 90 ½
x 108 5/8 inches (229.9 x 275.8 cm). Brooklyn Museum, Gift of Lilla Brown in memory of her husband, John W. Brown, by exchange, 2012.21; Virgin. Philippines and
possibly Mexico, Guatemala, or Ecuador, probably 18th century. Wood, ivory, pigment, gilding, gessoed cloth, and silver, 25 7/8 x 27 x 10 ¼ inches (65.7 x 68.6 x 26
cm); base: 9 ¼ x 14 ½ x 23 inches (23.5 x 36.8 x 58.4 cm).Brooklyn Museum, Frank L. Babbott Fund, 42.384; Archangel Raphael, Peru, late 17th or early 18th century.
Oil on burlap, 32 ¼ x 24 1/8 (81.9 x 61.3 cm). Brooklyn Museum, Museum Expedition 1941, Frank L. Babbott Fund, 41.1275.187
PAGE 17 Large Pin (Tupu), Peru, 17th-18th century. Silver. Brooklyn Museum, Museum Expedition 1941, Frank L. Babbott Fund, 41.1275.238, 41.1275.241,
41.1274.242
Saturday for Educators
NO VEM BE R 1 , 2 0 1 4
The Ringling is the remarkable legacy of circus owner, art collector, and financier John Ringling
(1866-1936) and his wife, Mable (1875-1929). In 1911, John and Mable bought property in
Sarasota, Florida, where they eventually built Ca’ d’Zan, a palatial winter residence that reflects
the opulence of America’s Jazz Age elites. An art museum housing the Ringlings’ impressive
collection of European, American, and Asian art was soon added. These treasures were left to
the state of Florida upon John’s death in 1936, and today they have been joined by a circus
museum, a historic theater, and an art library. Visitors to The Ringling can enjoy 66 acres of
manicured grounds, featuring native and exotic trees and a 27,000-square-foot rose garden.
The Ringling is now recognized as the State Art Museum of Florida and is committed to
inspiring and educating the public while honoring the legacy of John and Mable Ringling.
Februa ry 21, 2015
Conserving Culture
April 18, 2015
Science of the Circus
June 6, 2015
Classicism in the Courtyard
20