José Gil de Castro’s Revolutionary Portraits and the Shift in Latin American Art Essay

Introduction

The immeasurable contribution of José Gil de Castro is attributed to his depiction of the South American Wars of Independence heroes in the documentary style characterized by bold and contrasting colors. The painter and cartographer was born in Lima under the vice royal rule of Spain and was likely the apprentice of a master in the old colonial school (“Castro, José Gil De”). The influence of Francisco de Goya was seen in his Portrait of Fernando VII (1812).

De Castro accompanied Bernardo O’Higgins in his armed campaigns for Chilean independence and completed several portraits of generals and military collaborators (Toffoli 5). Moreover, General O’Higgins of the revolutionary army appointed de Castro as captain of the engineering corps due to his extensive knowledge of cartography and engineering. When he returned to Peru with the troops of General José de San Martín in 1822 and was named chamber painter of the state of Peru, thus becoming the favorite painter of the Peruvian aristocracy, importantly, the artist resided in Santiago when the army under the lead of General San Martin arrived in Chile, with the officers coming from Buenos Aires, where there were no painters to fulfill the role that de Castro could (Underwood). Therefore, the majority of commissioned portraits done by de Castro were brought by the military leaders upon their return home or were sent to families to preserve. This fact explains why most of the portraits of independence heroes showed signs of being rolled, which was discovered by researchers when using X-rays.

Military Regalia and Portrait Composition

In the portraits of Simón Bolívar and Francisco Calderón Zumelzú, the painter’s fascination with military regalia is seen. Specifically, the portrait of Zumelzú is in frontal perspective and is full-length, thus contributing to the attention to detail. At first glance, the painting appears to align with the rules and standards of a portrait commissioned to depict a prominent member of society. Officer Calderón Zumelzú is portrayed wearing his best military dress in bright navy, white, red, and gold, which stands against the plain black background.

Francisco Calderón Zumelzú’s Role in the Independence Campaigns

The emphasis on military dress emphasizes the role of Zumelzú in the independence campaigns. He began his service in his home city of Concepción, supporting the revolution for Peruvian emancipation. In 1814, after the officer had participated in all campaigns in the country’s south, he was taken prisoner in the Battle of Rancagua 1814 (“Francisco Calderon Zumelzu”). In 1817 and 1818, Zumelzú participated in the battles for independence and was promoted to major general in 1820 (“Francisco Calderon Zumelzu”). Therefore, Zumelzú is one of the faces of independence, which warrants the painting of his portrait and its inclusion in the collection of de Castro’s illustrations of people who contributed to the radical changes in the sociopolitical landscape of Latin America.

X-Ray Discovery: The Painting Beneath Zumelzú’s Portrait

Even though Zumelzú’s portrait, which is currently housed at Museo Histórico Nacional, Santiago, Chile, appears as just another of de Castro’s paintings. However, when researchers conducted an X-ray of the portrait, they discovered it was painted over the earlier work of de Castro, which he painted of the king of Spain, Ferdinand VII (Underwood). The act of covering the previous painting with the one portraying one of the faces of the Latin American revolution speaks volumes of de Castro’s support for the independence movement. The artist worked for several high-ranking officers involved in the fight for independence, so it was likely easy for him to repurpose the old painting. This act signifies turning to a new page in the history of Latin America and abandoning the Spanish rule that had persisted for centuries.

Symbolism of Erasing Colonial Figures in Art

Thus, Ferdinand VII was no longer relevant in the sociopolitical context of Peru; instead, the country’s population needed to start recognizing new faces that fought for independence. As research continued and more X-rays of paintings were done, it was revealed that the reuse of older canvases was quite common. Such a symbolic act of erasure occurred with the Peruvian Viceroy José de Abascal’s portrait, which was found under the painting General San Martín by Mariano Carrillo, de Castro’s contemporary (Underwood). The expressive touch of a painter reveals much more than just the ability to repurpose a canvas; it also allows for deeper insight into the sociopolitical climate in which the monarchy’s influence was becoming obsolete.

Transition from Colonial to Revolutionary Art in Latin America

When it comes to the artistic impact of de Castro’s paintings, it illustrates a move from colonial art to the art of the Latin American Revolution. The portrait of Zumelzú and other notable paintings by de Castro signify the end of the 18th-century Colonial School, encompassing paintings, sculptures, and other objects of art produced throughout Mexico and South America (Thoma et al.). The period ended toward the final years of the 1820s when Spain lost its control over colonies in the New World, with independence being won by many nations in Latin America (Thoma et al.). While the Colonial School in Latin American art was predominantly focused on completing traditional commissions paid for by the church or the government, the art of independence began emphasizing the scenes of daily life. The portraits of prominent figures of the revolution are significant because they look at the history of breaking away from the Spanish influence and building upon a new, independent identity.

Emotional Restraint and Colonial Influence in Zumelzú’s Portrait

Notably, Francisco Calderón Zumelzú, who was included in the list of the heroes of Peruvian independence, is depicted with no emotional expression in the portrait. This speaks of the lingering influence of the colonial portrait formula. For instance, Mexican folklore painters who worked in regional centers of the nineteenth century also employed the hard-edged and emotionally distant technique for portraying the local representatives of the bourgeoisie. The painter likely wanted to depict the hero of the portrait as a profound and influential figure whose contribution to the country’s independence will be remembered through the piece of art.

Conclusion

To conclude, the work of José Gil de Castro illustrates a significant shift in the sociopolitical landscape of Latin America. As most countries began their move toward independence from Spanish rule, the themes and heroes depicted in art changed drastically. Instead of the commissioned paintings of the Spanish aristocracy, it became more popular to depict the heroes of the independence, highlighting their role in the army and the revolutionary fight. The covering up of a portrait of the king of Spain, Ferdinand VII, with a painting of Francisco Calderón Zumelzú, signifies a drastic shift in the public perceptions of their leaders and the contributions they made to turning to a new page in history.

Works Cited

“Castro, José Gil De (C. 1785–C. 1841).” Encyclopedia. Web.

“Francisco Calderon Zumelzu.” Political History. Web.

Thoma, Carl, et al. “Collecting Guide: Spanish Colonial Art.” Christies. 2023. Web.

Toffoli, Erica. “Revolution and Revolutionary Movements in Latin America: A Special Teaching and Research Collection of The Americas.” The Americas, vol. 7, no. 1, 2017, pp. 3-12.

Underwood, Katie. “Gil de Castro, Painter of Latin American Independence Movement, Gets a Fresh Look in New Getty-Supported Publication.” Blogs Getty. 2021. Web.