Acknowledgments
Ten years have passed since I first began research on a series of paint-
ings of the Corpus Christi procession in colonial Cuzco. I came to the
topic as a curious student of pre-Columbian Inka art and culture who
wanted to explore what happened in Cuzco-the Inka imperial capi-
tal- after the Spanish occupation. What I discovered was a festival that
both brought together and sundered the residents of Cuzco and ren-
dered impossible my efforts to consider any faction of the colonial city
in isolation. I am grateful to a far-sighted advisor, Cecelia F. Klein, for
encouraging me to transgress the boundaries between pre- and post-
conquest worlds. I am indebted also to the Art History Department at
the University of California, Los Angeles, which consistently funded my
efforts. The personal encouragement I received from faculty, staff, and
fellow students there was even more valuable. Dissertation research
was also supported by the Center for Advanced Study in the Visual Arts,
National Gallery of Art, Washington, D.C. Subsequent investigations
which carried me far beyond a single series of paintings were funded by
faculty research grants from the University of California, Santa Cruz.
The precious time to write this book was made possible by a
J.
Paul
Getty Postdoctoral Fellowship in the History of Art and the Humanities
(I996-97)·
During the past decade I have received the support of numerous
individuals, especially the staff and faculty of the Department of Art
History, the Arts Division and Porter College staff, and the Pre- and
Early Modern Studies faculty at
ucsc.
I am also grateful to Monsignor
Alcides Mendoza Castro, archbishop of Cuzco, and Sr. Aguiles Barrio-
nuevo, director of the Archbishop's Museum of Religious Art in Cuzco,
who provided access to the canvases of the Corpus Christi series. To Sr.
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