After hearing about this project in the past couple of years, I was looking forward to learning more about the evolution of this 16 year collaboration and some of the observations and conclusions that have come out of it. I applaud the original participants (including conservators: Emily Kaplan, Ellen Pearlstein, Ellen Howe and Judith Levinson) in their ability to continue their involvement over the past decade and with various geographic and institutional changes. Analytical participants include the MFA Boston, the Met, Yale, MCI, and University of Barcelona. Emily spoke about the benefits of working on this project over an extended period of time- for example, they are taking fewer and smaller samples now, there is increased collaboration, and improvements in technology have moved them from paper to an electronic shared database.
This project came about when Emily was a post-graduate fellow at the NMAI (when it was in NY), the Brooklyn Museum of Art was preparing for an exhibit, and the Met received a large gift. Several exhibits and publications came out in the early years of the collaboration. Some of the goals were to study the imagery depicted and the polychrome techniques as this was of interest to the conservators, but also to better understand the people, production and use. Qeros are drinking vessels used in the Andean region for consuming fermented beverages. They are sometimes made in pairs, but few still remain together, and have been made from a variety of materials including wood and metal. Qero actually means both wood and cup. They have been described and illustrated in colonial chronicles, sermons and legal documents. Qeros are still used today as this tradition persists.
So far they have identified organic and inorganic pigments: orpiment, cinnabar, cochineal, indigo, copper greens and carbon black. These all have potential local sources. There has been a renewed interest in Qeros and an authoritative book came out in 2002 by Thomas Cummins. The qeros have been dated stylistically and categorized into four periods (sorry I didn’t write down all the dates and I wish I had a photo of this slide): the Inca period (1425-1532) having incised decoration, the early Colonial period (1600-1650) having small areas of polychrome and incised decoration, the Mid Colonial, and the late Colonial.
The most recent research has focused on the white pigments. Three types were identified: cristobalite, anatase and white lead. They are also doing lead isotope analysis and finding two sources for the lead. Apparently lead ore was common in the Andes, but it wasn’t used as a painting material until after the arrival of the Spanish.
I loved seeing the images of a workshop on working with mopa mopa- a resin that was noted as a binder in early literature. Through working with the mopa mopa Emily could see how it was applied to the surface after being pulled into strips, laid on the surface and then heated.
It was nice to see the benefits of an extended project like this one. I’m sure Emily would appreciate knowing about Qeros in other collections if you have any!