GENERAL DESCRIPTION
Modeled quero forms developed around the middle of the 17th century, representing exclusively feline and human heads. The modeled human faces generally represent Antis, individuals from the untamed eastern quarter or Antisuyu, identifiable through their horizontal stripes of face paint. The scenes on the back often depict confrontation or social relations between Inca and Antis individuals. During the Spanish Colonial period, the ideological dichotomy between a “tame” Inca and “wild” Antis was perpetuated through these quero designs.
Adapted from
Kimberly L. Jones, PhD, Inca: Conquests of the Andes / Los Incas y las conquistas de los Andes, Label text [1975.25.McD; 1975.26.McD], 2015.
NOTES
- Inka (Inca), Spanish Colonial, late 17th–early 18th century, updated by KJones in TMS on 11/29/13, 01/03/14, 01/25/16, and 02/04/16.
- Updated geography in TMS to reflect Inca label -- Perú.
Catalogue essays
- McDermott Art Fund
- A Conversation with Margaret McDermott, by Dorothy Kosinski (2003)
- Andean Orthography
Artist/designers
Cultures
Inka (Inca): AAT: 300017326
Inca horizon: AAT: 300017352
Geography
Peru (nation): TGN: 1000056
Process/materials
wood (plant material): AAT: 300011914
carving: AAT: 300053149
incising: AAT: 300053847
relief (sculpture techniques): AAT: 300053622
paint (coating): AAT: 300015029
resin (organic material): AAT: 300012882
inlay (process): AAT: 300053850
modeling (forming): AAT: 300053130
Historical periods
Spanish Colonial (Spanish Renaissance-Baroque styles / styles and periods): AAT: 300107033
Colonial Latin American (Spanish Colonial / styles and periods): AAT: 300018082
Colonial Spanish American (Spanish Colonial / styles and periods): AAT: 300343841
Individuals
Subject terms
vessels (containers): AAT: 300193015
cups (drinking vessels): AAT: ID: 300043202
ritual vessels: AAT: 300265801
keros (kero cups): AAT: 300265120
quero (kero cups): AAT: 300265120
qero (kero cups): AAT: 300265120
polychrome: AAT: 300252261
figures: AAT: 300189808
male: AAT: 300189559
human: DMA
head: AAT: 300262520
faces (animal or human components): AAT: 300251798
ears (human and animal components): DMA
eyes (animal or human components): AAT: 300400484
nose: DMA
geometric motifs: AAT: 300009764
geometric patterns: AAT: 300165213
lines (geometric concept): AAT: 300056279
stripes: AAT: 300010230
diamonds (motifs): AAT: 300009791
headbands (headgear): AAT: 300046115
headdress: AAT: 300046023
feather (material): AAT: 300011809
hairstyles: AAT: 300262903
plant-derived motifs: AAT: 300164599
flower (motif): AAT: 300375563
cantuta flower (Cantua buxifolia / cantua / Qantu(ta) / Flor del Inca / Flower of the Inca): DMA
processions: AAT: 300069290
presentations (cultural ceremonies): AAT: 300256762
Antisuyu (Peruvian Amazon peoples): DMA
Anti (Peruvian Amazon region / rain forest): DMA
jungles (forests): AAT: 300008869
rainforests (forests): AAT: 300008871
face paint (body art / visual works / adornment): DMA
body art (visual works / adornment): AAT: 300386734
dichotomy (concepts): DMA
bands (decorative): DMA
registers (compositional): DMA
RELATED OBJECTS
PROVENANCE
n.d.: Elisa Saenz, Buenos Aires, Argentina [1], [2], [3]
Until 1975: Edward L. Shaw, Buenos Aires, Argentina, purchased at public auction in Buenos Aires [1], [2], [4]
From 1975: Dallas Museum of Fine Arts, The Eugene and Margaret McDermott Art Fund, Inc. [4], [5], [6], [7], [8]
[1] The main source for this provenance is Acquisition Checklist (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is letter from Edward L. Shaw to Margaret McDermott (dated August 15, 1974, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] This collection was formed in the 1920s.
[4] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[5] The main source for this provenance is Certificate of Authenticity, Edward L. Shaw (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[6] The main source for this provenance is Acquisition Record (dated March 19, 1975, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[7] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[8] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1975.25.McD
Category
rules_operator
AND
General Description
Modeled quero forms developed around the middle of the 17th century, representing exclusively feline and human heads. The modeled human faces generally represent Antis, individuals from the untamed eastern quarter or Antisuyu, identifiable through their horizontal stripes of face paint. The scenes on the back often depict confrontation or social relations between Inca and Antis individuals. During the Spanish Colonial period, the ideological dichotomy between a “tame” Inca and “wild” Antis was perpetuated through these quero designs.
Adapted from
Kimberly L. Jones, PhD, Inca: Conquests of the Andes / Los Incas y las conquistas de los Andes, Label text [1975.25.McD; 1975.26.McD], 2015.
Fun Facts
Archival Resources
Web Resources
Notes
- Inka (Inca), Spanish Colonial, late 17th–early 18th century, updated by KJones in TMS on 11/29/13, 01/03/14, 01/25/16, and 02/04/16.
- Updated geography in TMS to reflect Inca label -- Perú.
Catalogue essays
- McDermott Art Fund
- A Conversation with Margaret McDermott, by Dorothy Kosinski (2003)
- Andean Orthography
Artist/designers
Cultures
Inka (Inca): AAT: 300017326
Inca horizon: AAT: 300017352
Geography
Peru (nation): TGN: 1000056
Process/materials
wood (plant material): AAT: 300011914
carving: AAT: 300053149
incising: AAT: 300053847
relief (sculpture techniques): AAT: 300053622
paint (coating): AAT: 300015029
resin (organic material): AAT: 300012882
inlay (process): AAT: 300053850
modeling (forming): AAT: 300053130
Historical periods
Spanish Colonial (Spanish Renaissance-Baroque styles / styles and periods): AAT: 300107033
Colonial Latin American (Spanish Colonial / styles and periods): AAT: 300018082
Colonial Spanish American (Spanish Colonial / styles and periods): AAT: 300343841
Individuals
Subject terms
vessels (containers): AAT: 300193015
cups (drinking vessels): AAT: ID: 300043202
ritual vessels: AAT: 300265801
keros (kero cups): AAT: 300265120
quero (kero cups): AAT: 300265120
qero (kero cups): AAT: 300265120
polychrome: AAT: 300252261
figures: AAT: 300189808
male: AAT: 300189559
human: DMA
head: AAT: 300262520
faces (animal or human components): AAT: 300251798
ears (human and animal components): DMA
eyes (animal or human components): AAT: 300400484
nose: DMA
geometric motifs: AAT: 300009764
geometric patterns: AAT: 300165213
lines (geometric concept): AAT: 300056279
stripes: AAT: 300010230
diamonds (motifs): AAT: 300009791
headbands (headgear): AAT: 300046115
headdress: AAT: 300046023
feather (material): AAT: 300011809
hairstyles: AAT: 300262903
plant-derived motifs: AAT: 300164599
flower (motif): AAT: 300375563
cantuta flower (Cantua buxifolia / cantua / Qantu(ta) / Flor del Inca / Flower of the Inca): DMA
processions: AAT: 300069290
presentations (cultural ceremonies): AAT: 300256762
Antisuyu (Peruvian Amazon peoples): DMA
Anti (Peruvian Amazon region / rain forest): DMA
jungles (forests): AAT: 300008869
rainforests (forests): AAT: 300008871
face paint (body art / visual works / adornment): DMA
body art (visual works / adornment): AAT: 300386734
dichotomy (concepts): DMA
bands (decorative): DMA
registers (compositional): DMA
RELATED OBJECTS
PROVENANCE
n.d.: Elisa Saenz, Buenos Aires, Argentina [1], [2], [3]
Until 1975: Edward L. Shaw, Buenos Aires, Argentina, purchased at public auction in Buenos Aires [1], [2], [4]
From 1975: Dallas Museum of Fine Arts, The Eugene and Margaret McDermott Art Fund, Inc. [4], [5], [6], [7], [8]
[1] The main source for this provenance is Acquisition Checklist (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is letter from Edward L. Shaw to Margaret McDermott (dated August 15, 1974, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] This collection was formed in the 1920s.
[4] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[5] The main source for this provenance is Certificate of Authenticity, Edward L. Shaw (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[6] The main source for this provenance is Acquisition Record (dated March 19, 1975, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[7] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[8] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1975.25.McD
source file
object_notes_4_a-0419.xml.nores