Hacienda La Fortuna
On View: Beaux-Arts Court, East, 3rd Floor
In 1885 Oller was commissioned by José Gallart, an enterprising émigré from Barcelona, to paint “portraits” of his five Puerto Rican sugar-mill complexes, or ingenios. Oller would complete only two. Later that year, Gallart returned to Spain and displayed Hacienda La Fortuna and Hacienda La Serrano (on view nearby) in the study of his home outside Barcelona as a reminder of the source of his newfound American wealth—Caribbean sugar.
Puerto Rico’s sugar production, like that of almost all Caribbean islands, depended on the labor of enslaved people. When the island abolished slavery in 1873, the sugar industry declined dramatically. In his sparsely populated “portraits” of Gallart’s ingenios, Oller seems to refer to the increasing obsolescence of a commerce once fueled by the sweat of human chattel.
En 1885, José Gallart, un emprendedor expatriado de Barcelona, le encargó a Oller pintar “retratos” de sus cinco ingenios de azúcar puertorriqueños. Oller completaría solo dos. Ese mismo año, Gallart regresó a España y exhibió Hacienda La Fortuna y Hacienda La Serrano (ver la pintura cercana) en el estudio de su hogar, en las afueras de Barcelona, como un recuerdo de la fuente de su riqueza americana recién adquirida—el azúcar caribeño.
La producción azucarera de Puerto Rico, como la de casi todas las islas del Caribe, dependía de la labor de personas esclavizadas. Cuando la isla abolió la esclavitud en 1873, la industria azucarera declinó dramáticamente. En los “retratos” escasamente poblados de los ingenios de azúcar de Gallart, Oller parece referirse a la creciente obsolescencia de un comercio alguna vez impulsado por el sudor de los esclavos humanos.
Oil on canvas
26 x 40 in. (66 x 101.6 cm)
Frame: 33 x 49 x 3 in. (83.8 x 124.5 x 7.6 cm) (show scale)
Gift of Lilla Brown in memory of her husband, John W. Brown, by exchange
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact firstname.lastname@example.org
Francisco Oller (Puerto Rican, 1833-1917). Hacienda La Fortuna, 1885. Oil on canvas, 26 x 40 in. (66 x 101.6 cm). Brooklyn Museum, Gift of Lilla Brown in memory of her husband, John W. Brown, by exchange, 2012.19 (Photo: Brooklyn Museum, 2012.19_PS6.jpg)
overall, 2012.19_PS6.jpg. Brooklyn Museum photograph, 2013
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.