20 Works, December 22th. is Charles Deas' day, his art, illustrated with footnotes #253

Charles Deas (1818–1867) (after)

Long Jakes, "The Rocky Mountain Man"

Oil on canvas

 height: 30 in, 76.2000 cm; image width: 25 in, 63.5000 cm

Denver Art Museum

Long Jakes documents America’s first frontier hero, the fur trapper. The fur trade in the American West flourished in the 1830s and was one of the most financially successful industries in America during the first half of the 1800s. The image of the trapper was that of a fiercely independent traveler who led a solitary life. Trappers worked throughout the Rocky Mountains to gather beaver fur, a major commodity (beaver hats were very popular). Trappers were often seen as rebels living outside the limits of society, but more often they were viewed with a sort of heroism, the ideal of the independent American spirit. More on this painting

Charles Deas (December 22, 1818 – March 23, 1867) was an American painter noted for his oil paintings of Native Americans and fur trappers of the mid-19th century.

Charles Deas

Turkey Shooting, c. 1838

Oil on canvas

Museum Syndicate

Between 1838 and 1840, Deas's humorous genre pictures and portraits elicited critical praise. His painting, "Turkey Shooting" (c. 1838), illustrates an episode in James Fenimore Cooper's novel "The Pioneers," 

Charles Deas was born in Philadelphia, Pennsylvania. He attempted, and failed, to obtain an appointment to the United States Military Academy at West Point, New York. As a young man, he studied under John Sanderson in Philadelphia, and subsequently embarked upon a career as a painter. The National Academy of Design in New York soon recognized his work, electing him as an associate member in 1839.

Deas, Charles (1818-67) / American

Indian Warrior on the Edge of a Precipice, c. 1847

Oil on canvas

92.8x67 cms

Museum of the American West

Charles Deas

A Group of Sioux, c. 1845

Oil on canvas

14 1/8 x 16 1/2 in.

Amon Carter Museum of American Art, Fort Worth, Texas

The Sioux are groups of Native American tribes and First Nations peoples in North America.  The term "Sioux" is an exonym created from a French transcription of the Ojibwe term "Nadouessioux", and can refer to any ethnic group within the Great Sioux Nation or to any of the nation's many language dialects.

Before the 17th century, the Santee Dakota (Isáŋyathi lived around Lake Superior with territories in present-day northern Minnesota and Wisconsin. They gathered wild rice, hunted woodland animals and used canoes to fish.

The Lakota, also called Teton, are the westernmost Sioux, known for their hunting and warrior culture. With the arrival of the horse in the 1700s, the Lakota would become the most powerful tribe on the Plains by the 1850s. They fought the United States Army in the Sioux Wars including defeating the 7th Cavalry Regiment at the Battle of Little Big Horn. The armed conflicts with the U.S. ended with the Wounded Knee Massacre. More on the Sioux

Charles Deas (1818-1867)

Figure Group of Sioux, c. 1845

Oil on paper laid down on board

7 1⁄4 x 6 in. (18.4 x 15.2 cm.)

Private collection

Charles Deas  (1818–1867)

Sioux Playing Ball, c. 1843

Oil on canvas

Height: 73.6 cm (29 in); Width: 93.9 cm (37 in)

Gilcrease Museum

Charles Deas

Pawnees on the Trail Of an Enemy, c. 1840

Oil on canvas

Height: 17 3/4in. (45.1cm), Width: 14 5/8in. (37.1cm)

Gilcrease Museum

The Pawnee are a Central Plains Indian tribe that historically lived in Nebraska and northern Kansas but today are based in Oklahoma. Historically, they lived in villages of earth lodges near the Loup, Republican, and South Platte rivers. 

In the early 18th century, the Pawnee numbered more than 60,000 people. However, several tribes from the Great Lakes began moving onto the Great Plains and encroaching on Pawnee territory, including the Dakota, Lakota, and Cheyenne. The Arapaho also moved into Pawnee territory. The Pawnee were occasionally at war with the Comanche and Kiowa further south.

They had suffered many losses due to Eurasian infectious diseases brought by the expanding Europeans and European-Americans. By 1860, the Pawnee population was reduced to just 4,000. It further decreased, because of disease, crop failure, warfare, and government rations policy, to approximately 2,400 by 1873, after which time the Pawnee were forced to move to Indian Territory, which later became Oklahoma. Many Pawnee warriors enlisted to serve as Indian scouts in the US Army to track and fight their old enemies, the Sioux and Cheyenne on the Great Plains. More on the Pawnee

Charles Deas

Winnebago Indians playing checkers, c. 1842

Oil on canvas

Private Collection

The Ho-Chunk, also known as Hoocągra or Winnebago, are a Siouan-speaking Native American people whose historic territory includes parts of Wisconsin, Minnesota, Iowa, and Illinois. Today, Ho-Chunk people are enrolled in two federally recognized tribes, the Ho-Chunk Nation of Wisconsin and the Winnebago Tribe of Nebraska.

The Winnebago Tribe of Nebraska have an Indian reservation in Nebraska. While related, the two tribes are distinct federally recognized sovereign nations and peoples, each having its own constitutionally formed government.

The Ho-Chunk suffered severe population loss in the 17th century to a low of perhaps 500 individuals. This has been attributed to casualties of a lake storm, epidemics of infectious disease, and competition for resources from migrating Algonquian tribes. By the early 1800s, their population had increased to 2,900 but they suffered further losses in the smallpox epidemic of 1836. In 1990 they numbered 7,000; current estimates of total population of the two tribes are 12,000. More on Winnebago Indians

Charles Deas

Winnebago (Wa-kon-cha-hi-re-ga) in a Bark Lodge, c. 1842

Oil on canvas laid down on masonite

36 inches high by 30 inches wide

St Louis Mercantile Library at the University of Missouri

The present sketch relates to Charles Deas' oil Indian Group of 1845 in the collection of the Amon Carter Museum of Art, Fort Worth, Texas. Indian Group likely depicts a group of Sioux, whom the artist possibly encountered during his experience on Clifton Wharton's expedition of 1844 to visit the Pawnee villages of Nebraska. 

Charles Deas (1818–1867) (after)

The Trapper

Oil on canvas

H 54 x W 44 cm

American Museum & Gardens

Charles Deas  (1818–1867)

The Trapper and his Family

Watercolor on paper

Height: 34 cm (13.3 in); Width: 49.5 cm (19.4 in)

Museum of Fine Arts, Boston

Charles Deas

The Voyageurs, c. 1849

Oil on canvas

Museum of Fine Arts, Boston

The voyageurs were 18th and 19th century French Canadians who engaged in the transporting of furs via canoe during the peak of the North American fur trade. The emblematic meaning of the term applies to places (New France, including the Pays d'en Haut and the Pays des Illinois) and times where transportation of materials was mainly over long distances. The voyageurs were regarded as legendary.[1] They were heroes celebrated in folklore and music. For reasons of promised celebrity status and wealth, this position was coveted. More on The Voyageurs

By 1840, he had decided to emulate one of his influences, George Catlin, and travel westward in the United States. It was during travels through the Wisconsin Territory that he became a noted painter of trappers and American Indians. By 1841, Deas decided to establish his base in St. Louis, Missouri. During this time, Deas would typically spend "a few months among the Indian tribes, familiarizing himself with their manners and customs."

Charles Deas

River Man, c. 1847

Oil on paper

Height: 9 3/4in. (24.8cm), Width: 14 3/4in. (37.5cm)

Gilcrease Museum

Charles Deas  (1818–1867)

Portrait of a Woman, c. 1840

Oil on paperboard attached to wood panel

12 1/8 inches by 9 3/4 inches

St. Louis Mercantile Library Art Museum

Deas' "Portrait of a Woman" (1840) exemplifies his restraint in depicting consequential members of the provincial society while including small details to symbolize his subjects' personal habits. Despite this, Deas's portraits are bland descendants of the primitive likenesses done by Colonial and Federal-era limners. More on Portrait of a Woman

Charles Deas, American, 1818-1867

The Rocky Mountain Man, c. 1844

Oil on canvas

height: 30 in, 76.2000 cm; width: 25 in, 63.5000 cm

Denver Art Museum

Charles Deas  (1818–1867)

The Death Struggle, c. 1845

Oil on canvas

Height: 80.2 cm (31.5 in); Width: 66.8 cm (26.2 in)

Shelburne Museum

Charles Deas

Prairie Fire, c. 1847

Oil on canvas

Museum Syndicate

The artist's works are described as expressing "psychological tension, perceived danger, alarm, and flight," epitomized by his painting Death Struggle (See above) which depicts an Indian and trapper locked in combat while falling to their deaths from a cliff. 

Charles Deas

The Devil and Tom Walker, c. 1843

Oil on canvas

Museum Syndicate

"The Devil and Tom Walker" is a short story by Washington Irving that first appeared in his 1824 collection Tales of a Traveller, in "The Money-Diggers" part of volume II. The story is very similar to the German legend of Faust.

Stephen Vincent Benét drew much of his inspiration for "The Devil and Daniel Webster" from this tale... More on The Devil and Tom Walker

Deas was most famous while he was still alive. One critic, in 1947, stated that the painter was considered to have "enjoyed more of a reputation during his own lifetime" than currently. Between 1841 and 1848, Deas' regularly exhibited his works in St. Louis at the "Mechanics Fairs." He also shipped many of his works, for sale, to the Pennsylvania Academy of Fine Arts as well as to New York's American Art Union. Deas returned to New York in 1848 and expressed a desire to open a gallery of Indian art. Before he could do this he was declared legally insane.

Charles Deas

Dragoons Crossing River, c. 1844

Oil on canvas

Museum Syndicate

Dragoons were originally a class of mounted infantry, who used horses for mobility, but dismounted to fight on foot. From the early 17th century onward, dragoons were increasingly also employed as conventional cavalry and trained for combat with swords and firearms from horseback. While their use goes back to the late 16th century, dragoon regiments were established in most European armies during the 17th and early 18th centuries; they provided greater mobility than regular infantry but were far less expensive than cavalry.

The name reputedly derives from a type of firearm, called a dragon, which was a handgun version of a blunderbuss, carried by dragoons of the French Army.

The title has been retained in modern times by a number of armoured or ceremonial mounted regiments. More on Dragoons

Charles Deas (1818-1867)

The Trooper, c. 1840

Oil on canvas

12 x 14 in. (30.5 x 35.6 cm.)

Private collection

This action-packed work depicts two soldiers in mortal combat. The soldier in red, bleeding from the forehead, fires on the one in blue who reels back from the impact. The terrified expressions of the horses and the turbulent sky underscore the frenzied tone. The brilliant yellows and reds of the men’s uniforms pop in an otherwise grey and brown composition. The background of the work is equally as chaotic with a pack of rider-less galloping horses in the left and crows descending over the smoke filled remnants of the battle in the right. The small format of The Trooper belies the explosive action of the composition. Art historian Carol Clark notes of The Trooper, “Deas’ painting of military action, fantastically realized, is thrillingly escapist. It points to a traditional test of manhood—survival in military combat—that Deas did not take. But it also directs us to the place where he and many of his contemporaries tested their skills—the West. More on The Trooper

On May 23, 1848, Deas was committed to New York's Bloomingdale Asylum. He was institutionalized for the rest of his life. During this period, his paintings were described as being particularly intense. "One of his wild pictures, representing a black sea, over which a figure hung, suspended from a ring, while from the waves a monster was springing, was so horrible, that a sensitive artist fainted at the sight." Deas died of "apoplexy" (possible stroke) in Bloomingdale Asylum on March 23, 1867.

Deas' maternal grandfather was the 18th century American politician Ralph Izard of South Carolina. More on Charles Deas

14 Works, July 14th. is Juan Rodríguez Juárez's day, his story, illustrated with footnotes #191

Circle of Juan Rodríguez Juárez (Mexican, 1675–1728)

Indian wedding , c. 1730

Oil on Canvas

101.6 x 144.8 cm. (40 x 57 in.)

Private collection

Juan Rodríguez Juárez (b. Mexico City 1675 - d. 1728) was an artist in the Viceroyalty of New Spain. He was a member of a Spanish family long noted for their accomplishments in the world of painting. His brother was Nicolás Rodríguez Juárez (1667 - 1734), who was like himself, an established painter in New Spain. 

Juan Rodriguez Juárez (Mexican, 1675–1728)

Otomi Indians on the Way to the Fair, circa 1725

Oil paint on canvas

height: 32.5 in, 82.5500 cm; image width: 41 in, 104.1400 cm

Denver Art Museum

Here the Native American family is identified as Otomi, a group still living in the area of Hidalgo and Tlaxcala north and east of Mexico City. The family is shown on their way to the market with the father carrying laying hens in a cage on his back and fighting cock in his arms. The woman carries eggs in a painted lacquerware gourd bowl, a type of container produced since PreColumbian times in the Michoacan area of Mexico, and wears a rebozo, or traditional shawl, dyed with the distinctive orange-red of the cochineal (a cactus bug) which was exported in great quantities to Europe during the colonial era. The young boy eats a rolled up tortilla. More on this painting

Juan Rodriguez Juárez (Mexican, 1675–1728)

Burial of indians, c. 1730

Oil on Canvas

101.9 x 144.1 cm. (40.1 x 56.7 in.)

Private collection

Juan Rodriguez Juarez (Mexican 1675-1728)

Escena pastoral

Oil on canvas

37¼ x 44¼ in. (94.6 x 112.4 cm.)

Private collection

The subject matter remains largely unknown. A lovely young woman is attended by two other women, one of whom, offers a casket of jewelry; to the figure's left stand a silver pitcher and a compote of fruit and, perhaps a change of clothes are depicted as well. The figure is seated in a fountain or bath and looks at us. Dr. Marcus Burke, scholar on Mexican colonial art, suggests the story of Vertumnus and Pomona found in Ovid's Metamorphoses, as the source for this iconography but the Ovid classic does not make a reference to jewels, as Marcus points out. Another possibility may be an eighteenth-century depiction of Venus for a very religiously orthodox society where conventions required that modesty be observed--including in art. Nudes were not banned in colonial art and appeared in religious subjects such as images of Adam and Eve, but this image is a lovely conundrum defying a definitive explanation. More on this painting

He was the son of Antonio Rodríguez (1636–91), a notable Spanish painter. His maternal grandfather José Juárez (1617 - 1661) and maternal great great grandfather Luis Juárez (1585 - 1639) were also notable painters in Spanish history and prominent in the Baroque era.

Juan Rodríguez Juárez

Adoration of the Kings, c. 1655

Oil on canvas

RegioNational Art's Museum, Mexico

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

Juan Rodríguez Juárez

Flight into Egypt, c. 1720

Oil on canvas

Regional Museum of Querétaro

THE REST ON THE FLIGHT TO EGYPT. The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries. More on THE REST ON THE FLIGHT TO EGYPT

Mary with Jesus in her arms rides the donkey in the center of the picture while nursing it. On his right side, San José observes the moment and holds his cane with his right hand. Two angels pull the ropes of the donkey. 

Juan Rodríguez Juárez

San Estanislao de Kostka

Oil on canvas

Museo Nacional de Arte, Ciudad de México, Mexico

Stanisław Kostka S.J. (28 October 1550 – 15 August 1568) was a Polish novice of the Society of Jesus. He is venerated in the Catholic Church as Saint Stanislaus Kostka (as distinct from his namesake, the 11th-century Bishop of Kraków Stanislaus the Martyr).

He was born at Rostkowo, Przasnysz County, Poland, and died at Rome during the night of 14–15 August 1568. He entered the Society of Jesus in Rome on his 17th birthday and is said to have foretold his death a few days before it occurred.

On a rectangular canvas, Juan Ródriguez Juarez presents the Jesuit saint according to his traditional iconography, as a beardless young man, dressed in the black Jesuit cassock. He appears centered in the composition, carrying the Child Jesus in his arms, under a break of glory and surrounded by images of angels. The figures are related to each other through gestures and looks, as well as through the compositional diagonal that links them. This episode takes place in an ocher-colored plane, which shows a discreet and expressive manner, representative of devotional painting. More on this painting

Juan Rodríguez Juárez (1675 - 1728)

Jesus with the Sick Woman

Oil on wood oil on panel

Height: 2,560 mm (100.78 in); Width: 1,540 mm (60.62 in)

Museo Nacional de Arte,  Mexico City

In this piece, the artist illustrates the biblical account that relates how, when Jesus was teaching in the synagogue one Saturday, he called out to a sick woman, promising to heal her. When the head of the synagogue pointed out to the onlooker that curing people on a Saturday was an offense, Jesus replied "Is there any of you who doesn't release his ox or ass from the manger on Saturdays and take it to drink?" Jesus appears at the center of the composition looking kindly at a woman who is kneeling at his right-hand side with a thankful look, while a dog, symbolizing loyalty, rests its front paws on her. Jesus is dressed in red, the color of the blood that he is to spill for the sins of man, and blue, betokening heavenly love, justice, nobility and loyalty. More on this painting

Juan Rodríguez Juárez  (1675–1728)

The Entombment of Christ, circa 1702

Oil and gold on copper

Height: 25.9 cm (10.1 in); Width: 19.7 cm (7.7 in)

Metropolitan Museum of Art 

The burial of Jesus refers to the burial of the body of Jesus after crucifixion, described in the New Testament. According to the canonical gospel accounts, he was placed in a tomb by a man named Joseph of Arimathea. In art, it is often called the Entombment of Christ. More on The Entombment

Juan Rodríguez Juárez was a versatile artist who excelled as a painter of altarpieces as well as portraits and small devotional works such as the Entombment of Christ. This work displays the brilliant color and vigorous modeling characteristic of the earliest phase of his career. The composition derives from a Flemish print, but the painter has altered it to heighten the impact of Christ’s seminude body, which is presented as the focus of prayer and meditation. The artist’s signature, conspicuously inscribed on the tomb, also signals his devotion. More on this painting

Attributed to Juan Rodríguez Juárez (Mexican, 1675–1728)

The Martyrdom of Saint Sebastian, c. 1705

Oil on canvas

43.5 x 32.52 in. (110.5 x 82.6 cm.)

Private collection

Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. "And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead." Miraculously, the arrows did not kill him.

Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but, recovering from his surprise, he gave orders for his being seized and beat to death with cudgels, and his body thrown into the common sewer. A pious lady, called Lucina, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More on St. Sebastian

Attributed to Juan Rodríguez Juárez (Mexico, 1675-1728)

Miracles of Saint Salvador de Horta, circa 1720

Oil on canvas

65 3/4 x 55 1/2 x 2 3/4 in. (167.01 x 140.97 x 6.99 cm)

Los Angeles County Museum of Art

Salvador of Horta was a Spanish Franciscan lay brother from the region of Catalonia in Spain, who was celebrated as a miracle worker during his lifetime. He is honored as a saint by the Catholic Church. More on Salvador of Horta

Juan Rodriguez Juarez, Mexican, 1667-1734

St. Rose of Lima with Christ Child and Donor, circa 1700

Oil paint on canvas

height: 66 in, 167.6400 cm; width: 42 in, 106.6800 cm

Denver Art Museum

St. Rose of Lima (1586-1617), the first saint born in the New World, lived her entire life in Lima, Peru. Known for her Christian devotion as a child, she entered a Dominican convent (seen in the background) at an early age. In the painting, the band of rose thorns she wore around her forehead in imitation of the Crown of Thorns is visible. She had a particular devotion to the Christ Child, as evidenced in this painting which is based on a famous one by Murillo now in the Lázaro Galdiano Museum in Madrid. In addition, the accomplished modeling of the white fabrics creates a strong sense of volume and recalls the works of another great Spanish artist, Zurburan.

Rodríguez Juárez has superimposed a portrait of a donor figure in the lower right corner of the composition. The portrait depicts a young woman, probably named for the saint, wearing an elegant dress decorated with embroidery and lace and elaborate jewelry of gold, pearls and emeralds, both typical of the upper classes in Spain and Mexico around 1700. Donna Pierce, 2015

As with most artists in New Spain during the late Baroque period, Juan Rodríguez Juárez produced religious art (See above). 

Juan Rodriguez Juarez (Mexican)

Portrait of Don Francisco José Pérez de Lanciego y Eguilaz, c. 1714

Oil on canvas

height: 85 3/4 in, 217.8050 cm; width: 53 3/8 in, 135.5725 cm

Denver Art Museum

In addition to being a very individualized portrait of the Archbishop of Mexico this painting illustrates the wealth of the church and showcases symbols associated with the sitters role in the church. The cleric wears a gold necklace with a cross, possibly set with stones, and luxurious vestments. In front of him is a gold and silver processional crucifix and on the table to his right is a mitre hat, which indicates his rank in the Catholic church. The archbishop is shown with his nephew, pulling back the green velvet curtain, who accompanied him when traveling from Spain to Mexico. The cartouche in the lower left corner tells us information about about the Archbishop. Julie Wilson Frick, 2017

Juan Rodríguez Juárez  (1675–1728)

Portrait of the Viceroy, the Duke of Linares, c. circa 1717

Oil on canvas

Height: 2,080 mm (81.88 in); Width: 1,280 mm (50.39 in)

Museo Nacional de Arte,  Mexico City

The portrayal of such an elevated personage was entrusted to one of the best painters in México City, who, in addition to being respected for his handling of religious topics, was an outstanding exponent of other genres as attested to by the high quality of this piece. The work is also noteworthy for its introduction of features that bear witness to the transition from local pictorial fashions to the new Frenchified style imposed at court by Philip V. Though it was customary to paint the portraits of viceroys, it was crucial that the portrayal of the Duke of Linares stress the subject’s authority and political experience. Hence the biographical inscription, the French-influenced clothing, the commander's baton, the table, the clock and the drapery with the coat of arms all signal the dignity and prestige of the subject. When the finished work was displayed, it fulfilled its purpose of commemorating and exalting the crown representative, besides encouraging the painting of other portraits. It likewise seems probable that this work was displayed at the obsequies in 1718 organized by the Carmelites of Saint Sebastian on the occasion of the Duke of Linares' death, in order to honor him as a benefactor of their order. This portrait remained in the Saint Sebastian Convent for some 142 years. When the latter building was abandoned in 1860, it passed to the San Carlos Academy. In 1964 it entered the collection of the San Diego Viceregal Painting Gallery, passing to the MUNAL 36 years later. More on this painting

He also followed the trend of painting portraits of high officials, such as Viceroy Linares and the local nobility. These works followed European models, with symbols of rank and titles either displayed unattached in the outer portions or worked into another element of the paintings such as curtains. Rodríguez Juárez painted "an extraordinary self-portrait, symptomatic of the changing role of the artist in the colony in the eighteenth century."

Juan Rodríguez Juárez

16 Casta paintings

Racial classifications in Spanish colonies in the Americas

 Oil on canvas

148 cm x 104 cm (58 1/4 inches x 40 15/16 inches).

Breamore House, Hampshire, England

Caste painting with all 16 combinations: 1. Spanish with India, Mestizo, 2. Mestizo with Spanish, Castizo, 3. Castizo with Spanish, Spanish, 4. Spanish with Blackberry, Mulatto, 5. Mulatto with Spanish, Moorish, 6. Moorish with Spanish, Chinese, 7. Chinese with India, Skip back, 8. Jump back with Mulata, Lobo, 9. Wolf with China, Gíbaro (Jíbaro), 10. Gíbaro with Mulata, Albarazado, 11. Albarazado with Negra, Cambujo, 12. Cambujo with India, Sambiaga (Zambiaga), 13. Sambiago with Loba, Calpamulato, 14 Calpamulto with Cambuja, Tente in the air, 15. Tente in the air with Mulata, I don't understand you, 16. I don't understand you with India, Torna back. More on this painting

A set of early casta paintings (ca. 1715) (See above) is attributed to him; they are in a private collection at Breamore House, Hampshire, England. Separate canvases show Mexican racial mixtures in a hierarchical order, with Spanish-Indian mixtures coming first, followed by Spanish-African mixtures, then further permutations of racially mixed couples and offspring. They are as follows: Spaniard and India produce a Mestizo; Spaniard and Mestiza produce a Castizo; Castizo and Spanish woman produce Spaniard. Spaniard and Negra produce a Mulato; Spaniard and Mulata produce a Morisca; Spaniard and Morisca produce an Albino. From Mulato and Mestiza produce a Torna atrás. From Negro and India, Lobo ("wolf"); From Indio and Loba produce a crinkly haired (grifo) "Hold-Yourself-In-Midair" (tente en el air); From Lobo and India produce a Torna atrás ("throw back"); From Mestizo and India produce a Coyote; Mexican Indians; Otomí Indians en route to the fair; Barbarian Indians (Indios Bárbaros). More on Juan Rodríguez Juárez

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