Plate 20: Saint Veronica: From Portfolio "Spanish Colonial Designs of New Mexico" 1935 - 1942

Curator: This watercolour, created between 1935 and 1942, is entitled “Plate 20: Saint Veronica: From Portfolio ‘Spanish Colonial Designs of New Mexico’”. Editor: Oh, wow. She has such a sorrowful expression and is literally glowing with sorrow—that radiating halo really punctuates it. She's trapped inside what appears to be a stage set in mourning. Curator: Indeed, Veronica’s image carries significant weight in Christian iconography. It's intriguing how this particular piece reflects both traditional folk art and colonial narratives, especially given the New Mexican context. The very notion of 'Spanish Colonial Designs' points toward questions about cultural appropriation and hybridity. Editor: The image of Christ on the cloth, it feels raw, like a charcoal sketch on old parchment, really different from the Saint's aesthetic. Did you notice the almost complete absence of the human's corporeal presence in this version? Is it symbolic of transcendence through devotion, maybe? Curator: Yes, that's a valid perspective. It echoes discussions surrounding the gaze and power dynamics inherent within colonial art. Who is creating this image and for whom is critical. Are we observing faith or cultural consumption? Editor: It makes me think of devotion—or performance—but what feels contemporary about it is the cartoon quality—it reads as raw emotional truth filtered through childlike eyes. Do you see the resemblance with religious-inspired posters? It gives the artwork an activist reading in contemporary times, it reminds you of the search for truth in dark times. Curator: Precisely! The formal simplicity juxtaposed with such weighty themes provides commentary on accessible religious expression and maybe even resistance against orthodox representation. Editor: The framing makes me wonder what kind of relationship does she have to Jesus himself. What an intriguing work to provoke these dialogues across centuries and cultures! Curator: Ultimately, by positioning the artwork in these historical and social fabrics, we hope to see that even within apparent reverence there can be strong questions concerning identity, representation, and cultural inheritance.