From abandoned child to painter in Quito and Popayán

Historia y Sociedad

Daniela Vásquez Pino¹  Orián Jiménez Meneses² 

[1] Corporación Universitaria Minuto de Dios;Universidad Nacional de Colombia (Sede Medellín);

关键词: Artists;    Royal Audience of Quito;    New Kingdom of Granada;    notarial deed;    testament;    Anthropology;    Art History;    history of art;    Latin American History;    South American Indian Languages;    Latin American and Caribbean History;    Early Modern History;    Latin American Art;    Artisan Production;    Paleography;    Latin Paleography;    History of Art;    Indigenous Peoples;    Ecuador;    Colombian history;    Ecuadorian history;    Andean Culture;    Cultural Anthropology;    Manuscripts & Material Culture;    Social Mobility;    cultura material;    material culture;    History of Indigenous Peoples;    movilidad social;    Transcription;    etnohistoria;    Notarial Practice;    Colonial Latin American History;    Colonial Latin American Art- Mexico and Peru;    Popayán;    Arts and Crafts;    paleografía;    Derecho Notarial;    Andean history;    Andes centrales;    Paleogeography;    etnohistory;    Historia Colonial Nuevo Reino de Granada;    Historia del arte;    South American Indians;    archivos;    antropología;    Anthropology of Lowland South America;    Quito;    Material Culture & Materiality;    História da arte;    artesanato;    Latin American Colonial History;    hisotry of arts;    artists;    Arte Colonial Neogranadino;    testamento;    Early Andean Art History;    Latin American Art History;    arte colonial quiteño;    Historiografía del arte colonial quiteño;    Andean peru;    Etnohistoria Andina;    historia del arte colonial;    Colonial Ecuadorian Art;    Indigenous Art History;    Archivo Nacional de Ecuador;    Archivo Central del Cauca;    Pedro Tello;    expósito;    niño expósito;    abandoned child;   

DOI  :  10.15446/hys.n35.71257

来源: DOAJ

【 摘 要 】

The testaments and codicil transcribed and analyzed in this section belong to the painter Pedro Tello, native of Quito and neighbor of Popayán. These documents were written in the mid-18th century and the early 19th century. The particular life of Pedro Tello made it possible to find him in these two localities and confirm that he is one of the many artists of the Latin American colonial period who have remained in oblivion, both in Ecuadorian and Colombian historiography. Despite of having been “exposed [abandoned] to the doors” of Juan Antonio Tello, Pedro had a good life, thanks to his craft as a painter, and he owned workshops and apprentices in both cities. He acquired enough assets to support his wife María Ventura de los Cobos, to buy a house in Popayán and to leave a legacy to his mother, Tomasa Rosales. Our interest is to show the variety of data obtained by crossing information from the payanese testaments and the Quito deeds. By doing so, Pedro’s life no longer appears divided by the current national boundaries and, as we find more documents that reinforce our knowledge of his itinerary, business, charity and knowledge, we acquire a complete picture of his career. This information is part of the documentary tracking that we carried out on artists and craft workers during the 17th and 18th centuries in the southwest of the New Kingdom of Granada and the Royal Audience of Quito.

【 授权许可】

Unknown