Atahualpa, Fourteenth Inca, 1 of 14 Portraits of Inca Kings
On View: American Identities: A New Look, American Landscape/Colony to Nation, 5th Floor
Although indigenous people ranked below Spaniards in Spanish America’s social order, direct descendants of pre-Hispanic nobility were afforded certain political privileges, including the right to hold office in local government. In order to legitimize claims to noble lineage in the viceroyalty of Peru, members of the Inca elite often conspicuously displayed in their homes Europeanized portraits of their ancestors, the fourteen ancient Andean rulers.
The Inca had no pictorial portraiture tradition before the conquest. Soon after European contact, however, series of Inca kings painted by local artists in European portrait styles started to appear in indigenous and Creole inventories. This bust-length portrait series is based on a 1615 Spanish engraving (see illustration).
Aunque los indígenas estaban por debajo de los españoles en el orden social de Hispanoamérica, a los descendientes directos de la nobleza prehispánica se les permitían ciertos privilegios políticos, incluyendo el derecho de tener cargos en el gobierno local. Para legitimar la atribución de linaje noble en el virreinato del Perú, miembros de la élite inca frecuentemente exhibían en sus casas retratos europeizados de sus ancestros, los catorce gobernantes andinos.
Antes de la conquista los incas no tenían una tradición pictórica de retratos. Poco tiempo después del contacto europeo, series de retratos de los reyes incas pintados por artistas locales al estilo de los retratos europeos comenzaron a aparecer en inventarios indígenas y criollos. Esta serie de bustos pintados está basada en un grabado español de 1615 (ver ilustración).
Oil on canvas
Probably mid-18th century
23 5/8 x 21 3/4in. (60 x 55.2cm)
frame: 29 1/8 x 27 5/16 x 2 13/16 in. (74 x 69.4 x 7.1 cm) (show scale)
Inscribed on roundel: "el tirano Bastardo, Atahualpa,"
Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon
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 contact firstname.lastname@example.org
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 email@example.com
Atahualpa, Fourteenth Inca, 1 of 14 Portraits of Inca Kings, Probably mid-18th century. Oil on canvas, 23 5/8 x 21 3/4in. (60 x 55.2cm). Brooklyn Museum, Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon, 1995.29.14
overall, 1995.29.14_PS6.jpg. Brooklyn Museum photograph, 2012
"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.
Portrait of Atahualpa, the Fourteenth Inca King, dressed in the finery of his office and holding a staff in his left hand. This portrait is part of a series of 14 Inca King portraits that is based on the engraving by Antonio de Herrera, which in turn is based on a painted prototype (see Converging Cultures, 1996, p. 239).
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.