Museo de la Universidad del Rosario
Museo de la Universidad del Rosario
Art and heritage in the Rosario
The Museo de la Universidad del Rosario has a collection starting from the time of the University’s foundation in 1653. One of the collection’s most recognized works of art has been “Our Lady of the Rosary”, also known as “La Bordadita”, which hangs in the chapel that belongs to the architectural complex of the university.
Vista aérea del Claustro del Colegio Mayor de Nuestra Señora del Rosario by Universidad del RosarioMuseo de la Universidad del Rosario
The cloister, located in the historic center of Bogota, has always been the campus of the Colegio Mayor de Nuestra Señora del Rosario. The collections are displayed in different spaces in its interior.
Virgen del Rosario "La Bordadita" (17th century) by AnónimoMuseo de la Universidad del Rosario
1. Our Lady of the Rosary "La Bordadita"
The author or authors of this embroidery on fabric are unknown. However, Juan del Rosario, university president between 1660 and 1665, donated “a painted and embroidered canvas shaped in the figure of Our Lady of the Rosary, with gold and silk embroidery with some stones” (School’s Inventory on March 17th 1665).
The lace on the Virgin's tunic is embroidered with metallic threads forming floral motifs. A rosary hangs from her hand, a typical attribute of this figure.
Did you notice that another rosary made up of small pearls is hanging from the child’s hand? Also, take a look at the sequins and green stones that decorate his robe and crown.
At the feet of the Virgin are the cherubs: their faces were oil painted and their wings were embroidered in silk. The outlines of some of the shapes such as the clouds were delineated using twisted threads.
2. Portrait of Fray Cristobal de Torres
The portrait of the founder of the Colegio Mayor del Rosario was painted by the artist Gaspar de Figueroa in 1643. It is one of the first civil portraits that exists from this period and it was made during his lifetime. For quite a long time it has been displayed in the hall known as Aula Máxima. The picture now presides over a vast gallery of portraits of all the past rectors. However, around 1665 it actually hung in the rector's office.
Fray Cristobal de Torres Fray Cristobal de Torres (1643) by Gaspar de Figueroa (Firmado)Museo de la Universidad del Rosario
The text depicted in the painting is the ‘Hail Mary’ in Latin. This reminds us that the students of that time had to learn Latin as soon as they started their studies since all of the lessons were taught in this language!
Fray Cristobal de Torres Fray Cristobal de Torres (1643) by Gaspar de Figueroa (Firmado)Museo de la Universidad del Rosario
Towards the upper edge of the work there is another inscription in Latin, indicating the age of this archbishop at the time he was portrayed: “At the age of 69 years old”.
3. Portrait of Philip IV, King of Spain
Representations of Spanish kings in the painting of New Granada is scarce.Therefore, this painting at the Museo de la Universidad del Rosario has a particular significance. The reason for this portrait in the collection is evident: Philip IV not only sent Cristobal de Torres to Bogota as archbishop in 1634, but he also authorized the establishment of the Colegio Mayor, becoming the first patron of the College.
Philip IV, King of Spain Philip IV, King of Spain (18th century) by Taller de los FigueroaMuseo de la Universidad del Rosario
Philip IV wears the symbol of the Order of the Golden Fleece, an order of chivalry founded by his father Philip III of Burgundy, which is still present in the Spanish monarchy. It is identified with a pendant of a ram skin carried on a collar of firesteel links.
Philip IV, King of Spain Philip IV, King of Spain (18th century) by Taller de los FigueroaMuseo de la Universidad del Rosario
The lion is a symbol of Spanish royalty, considered as the strongest animal and also as an expression of the “power of a monarchy” (Mínguez 2004, 58).
Margarita de Austria (19th Century) by Enrique Recio y GilMuseo de la Universidad del Rosario
4. Portrait of Margaret of Austria
The portrait shows Margaret of Austria, mother of Philip IV, King of Spain. It was commissioned to the Spanish painter Enrique Recio Gil, who was a professor at the School of Fine Arts in Bogota. He was active there in 1898 and he taught the most popular drawing class of the College (Document of June 12, 1898, in Fajardo de Rueda 1996, 177).
Many stories have been told about Margaret of Austria. For a long time it was asserted that she was the author of the famous tapestry depicting “Our Lady of the Rosary” and that it was actually a gift to her confessor, Cristóbal de Torres, before he travelled to America.
Enrique de Caldas Barbosa y Santiago (17th Century) by Gregorio Vásquez de Arce y Ceballos (inscripción en cartela)Museo de la Universidad del Rosario
5. Portrait of Enrique de Caldas Barbosa y Santiago
Caldas Barbosa is one of the first fifteen schoolboys to enter the Rosario. He had the honor of being a “colegial,” meaning a collegiate student member of the college government. He was chosen directly by the founder Fray Cristobal because of his virtues. He later became a professor and then university president in 1667. The penetrating stare shown has been the subject of various studies in Colombian art.
The author of this magnificent portrait, according to its cartouche, is Gregorio Vásquez de Arce y Ceballos (1638-1711), who was one of the most celebrated painters of the colonial period. The painting shows the year 1698.
This painter strove to represent hand gestures, and the right hand is holding a quill. This gesture had a special value in a period when learning to read and write represented a privileged place in society.
The two books stacked in the background, with Latin titles, are volumes of the Summa Theologica of St. Thomas Aquinas, a doctrine that was introduced as part of the formation at the Rosario.
José Joaquín de León y Herrera (18th Century) by Joaquín GutiérrezMuseo de la Universidad del Rosario
6. Portrait of Jose Joaquin de Leon y Herrera
Painted by Joaquín Gutiérrez around the second half of the 18th century, this portrait represents the painting style of the Vice-royalty period of New Granada. Gutiérrez's use of a rather flat perspective and his interest in ornamentalism and color pallete, such as carmine red and ochres, are characteristic of his work.
The lace cuffs and white gloves are symbolic elements that allude to the student's social status.
León y Herrera wears the white beca or graduation stole, representative of his status as a ‘colegial’ (collegiate student member of the college government). It contains the Calatrava Cross, a symbol of the Dominicans, surrounded by the beads of the rosary.
The cartouche records the most significant events in the character's life. Although it is believed that the portrait was painted during his lifetime, on observing the date of death in the cartouche it is assumed that at least part of it was made after the portrait.
7. Offering of the Colegial Pedro Pradilla y Silva
In this work dated in 1782, and also attributed to Joaquin Gutierrez, what stands out is a possible representation of the cloister in a scene imagined by the artist. In addition, the portrait of the student Pradilla is integrated into the central scene, and the portrait of the Rector at the time, Miguel José Masústegui, is depicted within a frame on the painting.
Ofrenda del colegial Pedro Pradilla y Silva Offering of the student Pedro Pradilla y Silva (18th century) by Joaquín GutiérrezMuseo de la Universidad del Rosario
Over the arch of the entrance is the Calatrava Cross, symbol of the College. Underneath it are the Latin words “Domus Sapientiae”, meaning “House of Wisdom”.
Manuel Rodríguez Torices (1837 (fecha inscrita: 12 julio 1837)) by Luis García HeviaMuseo de la Universidad del Rosario
8. Portrait of Manuel Rodriguez Torices
Rodriguez Torices was a lawyer from the Rosario and later a Precursor of the Colombian Independence, becoming a martyr that was executed by the Spaniards along with Camilo Torres.
Here he is portrayed by Luis Garcia Hevia, recognized in the history of Colombian art as a painter, photographer and calligrapher. This piece, created in 1837, represents a radical break from the way portrait painting had been approached in the earlier works of the collection.
The choice of color and the technique used by the painter on the character's complexion, as well as on the bearded area, generate a visual effect which was innovative for the style of the time.
In addition, García Hevia excels at faithfully representing the volume of the frills of his shirt, which jut out from Rodriguez's jacket.
The calligraphy is also the work of the same painter, García Hevia.
By removing the text from the traditional cartouche and incorporating it into a black background where the contrasting white calligraphy stands out, this painting represents a radical change in portrait art.
9. Portrait of Lorenzo Maria Lleras
The author of this portrait is unknown. It depicts Lorenzo Maria Lleras, university president of the Rosario in 1840. During his term, Lleras encouraged the introduction of the arts into the Colegio Mayor through music and drawing lessons. In fact, he even promoted the construction of a small theater in the cloister. Although this painting was recently added to the collection by means of a private donation, it is assumed that it originally belonged to the Rector portrait collection of the Rosario, as it presents the symbol of the College, which is the Calatrava Cross.
Lorenzo María Lleras Lorenzo María Lleras (19th century) by AnónimoMuseo de la Universidad del Rosario
The detailed library alludes to Lleras' background as an expert in English literature and a theater enthusiast. Shakespeare's Works are detected, as well as a poetry book of his authorship.
Liborio Zerda Liborio Zerda (1921) by Eugenio ZerdaMuseo de la Universidad del Rosario
10. Portrait of Liborio Zerda
The portrait of this science professor at the Rosario was made by his son, Eugenio Zerda, in 1921. It is a symbol of modernity: not only from the innovative plastic art values but from the concept of the new meaning of science and education at the beginning of the 20th century. This work shows a transformation of the Colegio Mayor, as well as a turning point in the approach to the genre of portraiture.
The professor's gaze is focused on the activity he is carrying out in the laboratory –and not on the viewer’s eyes– which represents an important change compared to previous portraits of professors and presidents of the university.
Liborio Zerda Liborio Zerda (1921) by Eugenio ZerdaMuseo de la Universidad del Rosario
Thanks to the conservation treatment carried out in 2017, the vivid colors used by Zerda were once again appreciated, since the artist himself had actually used the synthetic pigments that only became available after the new scientific discoveries.
Museo de la Universidad del Rosario
These are just ten of the paintings at the Museum. Now you can discover other works of the virtual collection available on Google Arts & Culture. It’s your turn to find your favorite one!
Texts: Ingrid Frederick, Museo de la Universidad del Rosario. 2020.
Documentary and bibliographic sources:
Archivo General de la Nación, Fondo Colegios, T. IV; Documento del 17 de marzo de 1665, Inventario realizado al finalizar la rectoría de Fray Juan del Rosario.
Archivo Histórico de la Universidad del Rosario. Volumen 34, folio 42 Autorización para la construcción de un teatro pequeño en el Colegio Mayor del Rosario.
Bermúdez, Carolina & Gálvez, Maria Victoria. (2018). Historia Clínica de la Restauración de La Virgen del Rosario, La Bordadita. Museo de la Universidad del Rosario.
Fajardo de Rueda, Marta. 1996. «Documentos para la de la Escuela Nacional de Bellas Artes». Ensayos: Historia y Teoría del Arte, 1996.
Mínguez, Víctor. 2004. «Leo Fortis, Rex Fortis, el León y la Monarquía Hispánica». En El imperio sublevado: monarquía y naciones en España e Hispanoamérica, editado por Víctor Mínguez y Manuel Chust, 57-94. Madrid: Consejo Superior de Investigaciones Científicas.
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