Plate 47: Crosses of Tin: From Portfolio "Spanish Colonial Designs of New Mexico" by Anonymous

Plate 47: Crosses of Tin: From Portfolio "Spanish Colonial Designs of New Mexico" 1935 - 1942

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toned paper

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retro 'vintage design

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watercolour illustration

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cartoon style

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indigenous-americas

Dimensions: overall: 35.6 x 28 cm (14 x 11 in.)

Copyright: National Gallery of Art: CC0 1.0

Editor: This drawing, "Plate 47: Crosses of Tin: From Portfolio 'Spanish Colonial Designs of New Mexico'," made sometime between 1935 and 1942, features two strikingly decorated crosses rendered in watercolor. They have such an appealing folk-art quality. What’s your interpretation of this piece? Curator: What stands out to me is how this drawing captures a moment of cultural negotiation. These designs represent tinwork crosses from New Mexico, a region where Spanish colonial traditions encountered indigenous aesthetics. Notice the shapes – the Latin cross form adapted with indigenous decorative motifs. Editor: So, it’s not just about religious iconography, but also cultural exchange? Curator: Precisely! The portfolio title highlights "Spanish Colonial Designs," but the crosses themselves tell a more complex story. Think about the social role these objects would have played: religious symbols imbued with local artistic expression. The politics of imagery are subtle but present. Editor: I see it now – the patterns seem both European and distinctly Native American. It makes me think about who was commissioning these pieces and who was crafting them. Curator: Exactly. Who held the power? Who was adapting to whom? This watercolor, made later, is further filtered through the lens of the artist documenting these objects. We’re looking at layers of cultural interpretation. How does the medium, watercolor, impact this? Editor: It feels delicate and archival, almost like a record of something that's slowly fading away. Curator: And that feeling connects to its role as a document and an artistic interpretation. This image prompts reflection on power, adaptation, and cultural survival through art. Editor: I hadn't considered it that way before. Thinking about the context and layers definitely adds another level to understanding the work. Thanks! Curator: My pleasure. It’s in that layered understanding that the real value, and the real story, is found.

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