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Patrocinio Barela (after Prather)

Patrocinio Barela (after Prather)

Artist: Edward R. Gonzales (born 1947 Los Angeles, California; lives Rio Rancho, New Mexico)

Sitter: Patrociño Barela (1908 Bisbee, Arizona - 1964 Cañon, New Mexico)

Department: Art
Date: 1981
Medium: acrylic on canvas
Dimensions:
60 9/16 x 48 in. (153.8 x 121.9 cm)
Classification: Painting
Credit Line: Albuquerque Museum, museum purchase 1983 General Obligation Bonds
Object number: PC1985.15.1
DescriptionPortrait of wood carver Patrocinio Barela sitting in an armchair with his hat on his knee, cigarette in one hand, and a carving at his feet.
On view
Text Entries

Edward R. Gonzales

born 1947; lives Corrales, New Mexico

Patrocinio Barela (after Prather)

1981

acrylic on canvas

museum purchase, 1983 General Obligation Bonds

PC1985.15.1

 

Distressed by the lack of portraits of important Hispanic New Mexicans, in the late 1970s Edward Gonzales began his own series The Missing Images of notable Mexican American leaders in the arts, culture, and politics. Gonzales based this portrait of Taos sculptor Patrociño Barela on a photograph taken by Winter Prather of Taos.

 

In 1978 Gonzales presented a paper that proposed that New Mexican fine art of the 19th and 20th centuries romanticized the American Indian and glorified the frontiersman and cowboy way of life, while Hispanics and Mexican Americans were either ignored or depicted in derogatory and stereotypical ways. This powerful portrait of Barela projects his strength, determination, confidence, and comfort in a modern world.

Patrocinio Barela (basado en Prather)

1981

pintura acrílica sobre lienzo

adquisición del museo, bonos de obligación general 1983

PC1985.15.1

 

Molesto ante la ausencia de retratos de figuras importantes de Nuevo México, a finales de la década de 1970, Edward Gonzales comenzó su propia serie The Missing Images (Las imágenes ausentes ) de notables líderes de Nuevo México en los campos del arte, la cultura y la política. Gonzales basó este retrato del escultor de Taos, Patrociño Barela, en una fotografía tomada por Winter Prather, de Taos.

 

En 1978, Gonzales presentó un escrito en el que sugería que las bellas artes de Nuevo México de los siglos XIX y XX idealizaban a los indígenas americanos y glorificaban la conquista estadounidense de la frontera y el modo de vida de los cowboys, mientras se ignoraba a los hispanos y nuevomexicanos o, a lo sumo, se les representaba de forma estereotipada o peyorativa. Este poderoso retrato de Barela proyecta su fuerza, determinación, confianza y comodidad en un mundo moderno.