Sacred Feminine: Sacred Images of the Southwest

AUTHOR

Dedication to My Parents

My mother, Shirley McLaughlin, for her example of deep enduring

faith, love of Catholicism and the Blessed Mother

My late father, Donald W. McLaughlin, an author, historian

and photographer, for passing on his love of history and writing.

Acknowledgments

There are always so many people to thank when researching and writing a book. The people who are a part of your life while writing a book are often also the people who influenced your life, long before the book was written. I want to be sure to acknowledge them for their participation and guidance in this work and in my life.

From living in New Mexico for a number of years, I continue to be enthralled with its people, art, communities and desert hills. In time, I developed a fascination with santos and santeros. To me, they represent the undying faith and devotion to a profound religious belief and spirituality. The santos as icons and artwork are tangible reminders of the Spanish vecinos’ dedication to God and their Church. In addition, I have experience and a background in women’s studies, sociology and psychology. The combination of these interests, experience and love of santos made it a short step to consider santos from the feminine, sociological and psychological perspective for this work.

This book was an enormous undertaking for me. The book began with a number of years of research and then an extended trip around New Mexico visiting churches, museums, shrines and villages in 2004. To complete the study, research visits were conducted at seven New Mexican museums and numerous churches with santo collections. Penitente morada sites were respectfully visited in four villages. Museums in New York City, Boston, Philadelphia and Denver were visited in order to examine their santos or Spanish Colonial Arts collections. Byzantine and medieval arts collections were also viewed and documented because of their influence on santeros as they created their New Mexican icons.

There are always individuals who go out of their way to assist researchers at libraries, universities and museums. Luckily, I was no exception in the willingness of the staff to assist me. The Museum of International Folk Art and the MOIFA Library staff in Santa Fe in particular, Ree Mobley, Librarian Archivist, was of exceptional assistance. The staff at the Zimmerman Library at the Center for Southwest Research in Albuquerque were also of great help. Professor Cate Fitzmaurice-Torres of Santa Fe College was wonderful; and offered her encouragement, emails and recommendations of materials and subjects. Her guidance was most helpful.

In addition, Jason Lantzer, PhD, Professor of History, who read and commented on the historical significance of this book giving me valuable feedback in the process. A special thanks to Marck Beggs PhD., Professor of English. Dr. Beggs offered guidance and expertise, answered millions of questions and tolerated every coma and semi colon out of place and responded to each email no matter how silly. Through this process Dr. Beggs taught me more than I can express.

In addition, many people made it possible to set aside my regular life and focus upon this exceptional topic. I am forever grateful that I have them in my life. My family of course is first, they are my inspiration, delight and center of my life. My marvelous husband, Dan, my editor and chief and partner for life. Our children Erin, Ryan, Briana, who bless my life everyday by being on this planet and Tim and Becki for their encouragement, support and love. Ti and Chris too. My niece, Jenny who asks for little and gives so much to everyone who knows her. I adore all of you.

My parents as noted, and my dear sister and editor, Mary B who supports me no matter what I do, and my brother Kevin who along with B is always there for me even through the tough stuff. Stephen and Stevie for being the light of our collective lives. All my brothers Jim, Steve, Patrick and my sister Kathleen their spouses and all their kids who are the loves of our lives. Steve, Matt, Scott, Jenny, Stevie, Isaac, Jacob, Bethany. We share many of the same dreams and have been blessed to have been part of the same family.

My much-loved friends, Tiki Govantes, Gen Overholt, Anne Donnelly for their belief in me. Gen for the hours of listening to my unrelenting philosophical, psychological questions and crazy ideas over the years. And for being my friend for so long and one of my most favorite people on earth. To Tiki who listened to my incessant speeches about Isabella of Spain, santos/santas and marianisimo. And also for her Spanish translations and for revealing to me an understanding of the rich Hispanic culture and arts that she lives. Also John Gotowski, Crissy and Isabel, Tiki’s parents Enrique and Chalie who are all my loved ones as well. For Professor Anne for her encouragement in continuing my pursuit of educational and literary achievements, she is the finest example and role model of a woman who accomplished everything in life, career and family. Bruce Loveys, a wise and funny person with a gift for guiding people, the SCCDC board and all the staff, including Colleen Mahar and Lisa Boss for encouragement and support.

Finally, to Paul Rhetts and Barbe Awalt for publishing books that I have valued in my work and for taking a chance on this book as Sacred Feminine is unusual in so many ways. I am so grateful that they were able to see the topic as important and timely. My many thanks to all noted and not, who have assisted and guided me on this journey.

Foreword

I have loved New Mexico and its landscape since I first entered its borders in the 1970’s. The Land of Enchantment has a stark and vibrant topography that speaks to one’s own spirituality and deeply held beliefs. It is a place that is hauntingly etched in your soul once you have experienced its character and essence. As a result, the work of the santero resonates with one’s being, evoking unforgettable images of the land, Catholicism and Spanish culture. The artwork of the santeros and the art of the Spanish Colonial Era in New Mexico are poignant, extraordinary and unforgettable.

I have studied the work of the santero for many years before deciding to write this book. Throughout my career and educational pursuits I have a background in women’s studies including women’s history. My professional career has followed women’s services and psychology, sociology. It was a simple step to begin a work that would look at the work of the Santero from sociological, psychological, historical and theological perspectives to understand how they contributed to the religious and spiritual aspects of the images of women in New Mexican art.

The preliminary research for this project began with trips to Albuquerque, Santa Fe and Taos, New Mexico. The trips consisted of visits to museums, research libraries, churches and galleries in Northern New Mexico. These included: The Fine Arts Museum in Santa Fe, The Museum of International Folk Art and the MOIFA Library, The Millicent Rogers Museum, The Harwood Museum, The Palace of the Governors Museum, The Museum of Spanish Colonial Arts, and the Zimmerman Library at the Center for Southwest Research in Albuquerque. Some archival research was completed at the Museum of International Folk Art and the Zimmerman Library.

A 2004 correspondence was established with the librarian at the Museum of International Folk Art in Santa Fe. An additional email relationship was developed with a professor at Santa Fe College who teaches courses in New Mexico history. Both women made recommendations about research as did the librarian at the Zimmerman Library.

At the Zimmerman Library videos were available for viewing on Santeros at work. Research materials through both libraries were available and cataloged. The research librarians also recommended the purchase of many books. From over 70 books and 20 articles, many out of print and difficult to locate, a bibliography was established and many books were purchased from their recommendations.

Numerous churches were visited in Santa Fe, Taos and rural areas to see their santo collections. In addition visits to Penitente moradas were completed without entrance to the inside of the meeting halls, out of respect, and because of the Penitentes need for privacy. However, time was taken in the courtyards where Way of the Crosses and two Christos were available for viewing. The Christos in this case, were life size Jesus’ santos, carrying crosses to Calvary. These experiences were extraordinary, compelling and deeply reverent moments.

Many Churches visited have extensive santo collections created by the famous Santeros, such as, Aragon, Montolla, Molleno and Fresquis. They are housed at Santuario de Chimayo, Las Trampas Church, and St. Francisco de Asis in Taos. In Santa Fe, Santuario de Guadalupe is a museum for the Diocese of Santa Fe’s santo collection. San Michael Mission, Loretto Chapel and the Cristo Rey Church were all historic Churches with Colonial arts collections or exhibits.

Chimayó, the Santuario de Chimayó, which is considered the Lourdes of North America, is a place where people are healed by holy dirt from a sacred well. This chapel has an extensive collection of famous santos. The Chapel el Niño is also in Chimayó and is dedicated to children who are or had been ill. There is a large santo collection in this chapel as well. There were also a few small mission chapels such as San Francisco in Taos and Our Lady of Guadalupe near Tesuque Pueblo and St. Clara Pueblo Church.

After finishing the initial research, more information was needed on the history of Spain, Mexico and New Mexico in order to present a well-rounded picture of Hispanic New Mexican culture. Additional sources were found through recommenced reading lists in a number of books. Information on women in New Mexico culture, religion and art were also needed and contact was made with a number of museums and universities. Replies and suggestions were received to these inquires from, the University of New Mexico at Las Cruces Museum, New Mexico State University at Albuquerque, New Mexico Genealogical Society and New Mexico State Archives. Their recommendations for sources and additional searches were followed.

A visit to New York, Philadelphia, Boston, and Denver helped to gather additional information on Byzantine, Baroque, Spanish Colonial and Mexican folk art. The Metropolitan Museum in New York had an exceptional collection of Byzantine, Medieval and religious art and the Museum of Folk Art in New York have some Southwest santos. The Philadelphia Museum of Fine Arts exhibits folk art, European religious painting, medieval stain glass, sculpture and Byzantine icons in their collections. Their exhibit Treasures of Colonial Latin America in 2006 was exceptional. The Denver Museum has an extensive collection of not only Spanish Colonial but also Penitente and santero artwork. Boston Fine Arts Museum has Byzantine and Catholic European art.

Finally, additional supplementary information was needed on the schism between the Orthodox and Roman Catholic Church, Byzantine art, rituals, liturgy and ceremony of the early Church, the Virgin Mary and the saints. Books and materials related to the above were procured to complete the work. This book therefore considers the influence that religion, culture, psychology, gender and history played in the creation of the images of women saints in New Mexican religious artwork.

Introduction

The images of saints either in sculpture, painting or woodwork were utilized in New Mexican religious art to assist devoted Catholics in maintaining their faith. The inspiration for this sacred folk art was an expression of pious belief by the artists and the Catholic community. Through the generations the saints, or santos, were created and produced by artists, known as santeros, or saint makers. Santeros created santos to sustain the vecinos, settlers, psychologically and spiritually in a hostile remote desert, far from their place of birth.¹

Throughout the past 80-90 years there has been a great deal of investigation and research into the origins of santos and the artists who created them. The majority of the research has been concerned with the artistic methods, materials and the subjects of the artwork, the Catholic saints and Jesus Christ. In the twentieth century many excellent books and materials have been written that have identified and dated santos and the work of the santeros. The available research and data are extensive. Scholars have identified the work, attributed it to the individual artists and documented the methods, style, paints, brushes, wood and other materials used to create these holy icons.

This work in not an attempt to write a book about the santeros as individual artists or to consider their particular style or methods. These areas have been well documented by Boyd, Steele, Worth, Awalt, Rhetts, Carrillo, Weigle, Frank, Gavin and others. Therefore, because there is so much previous research, this book will look at santeros and their artwork from different perspectives. Consequently, this book will take into account various points of view, outside of, or beyond, the basic questions of technique, process or practice in making the art. The evaluation of the artists style, method and process are all valid perspectives, but I had many other questions I wished to explore about the images of female saints.

Throughout my research, many questions arose regarding the feminine representations of santos. In this work I sought to unravel some of the mystery surrounding santeros and the female saints they created. I was interested in understanding the faith and perseverance of artists who worked in such stark and sparse environments creating such important sacred art. I was intrigued by the artist’s religious backgrounds and the way it influenced their art. I wanted to take into account the relevance of the psychological and sociological implications of their artwork in terms of the individual, community, church and associations such as the Penitentes. Furthermore, questions arose about how the Spanish culture and the Catholic Church predisposed the artists to create these religious images of women. Finally, I felt it was important to allow various disciplines and opinions to flavor the dialogue and help discover what roles women played as the subject, focus and theme of the art.

When examining the role that the images of women played in New Mexican religious artwork, it was important to take into consideration a number of factors. To have a comprehensive view of the feminine principle in santero art one must thoroughly explore the history of Medieval Spain, iconology as art, The Virgin Mary, the artists themselves and the Penitentes, a lay Catholic Brotherhood. Additionally, one must look at the Spanish Catholic Church with its liturgy, rituals and history in order to grasp the essential pieces of the art, history and culture of the Spanish American colonists and the santeros of the Southwest.

The artwork of the santero was grounded in their religious and spiritual beliefs, as well as, the Hispanic culture. The Penitentes, a religious brotherhood of the Southwest, also had a heritage tied to Spain and the Church. Therefore any comprehensive examination of the work of the santero and their female saints as subjects must look at the early Catholic Church, its rituals and ceremonies in order to understand the role the Penitentes played in the religious landscape of New Mexico, including their role in santero art.²

Moreover, Queen Isabella of Spain (1451-1504) influenced not only the Spanish Colonial period but also the Cult of the Virgin Mary. She had, I believe, an unacknowledged and perhaps undocumented role in shaping and inspiring the role of women in Spain and New Spain. In addition, other subjects needed further exploration including; Our Lady of Guadalupe, frontier women, the theory of marianisimo, gender roles in Spanish Colonial society and the veneration of the feminine principle