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Press Release - Major International Exhibition on Junipero Serra and the California Missions Opens Aug. 17

August 08, 2013

 

“Junípero Serra and the Legacies of the California Missions” on view exclusively at The Huntington, Aug. 17, 2013—Jan. 6, 2014

 

Junipero Serra and the Legacies of the California Missions

 

Press Preview: Friday, Aug. 16, 10 a.m.–noon

 


Exhibition Flow     •     Bio: Steven W. Hackel     •     Bio: Catherine Gudis     •     Map of Serra's Travels Related Book & Events     •    Images



SAN MARINO, Calif.—The life of Junípero Serra (1713–1784)—and his impact on Indian life and Califor­nia culture through his founding of missions—is the subject of an unprecedented, comprehensive, international loan exhibition opening Aug. 17, 2013, and remaining on view through Jan. 6, 2014, exclusively at The Huntington Library, Art Collections, and Botanical Gardens. “Junípero Serra and the Legacies of the California Missions” coincides with the 300th anniversary of Serra’s birth and includes about 250 objects from The Huntington's collections and those of 61 lenders in the United States, Mexico, and Spain. The exhibition examines Serra’s early life and career in Mallorca, Spain; his mission work in Mexico and California; the diversity and complexity of California Indian cultures; and the experiences of the missionaries and Indians who lived in the missions.

 

“Junípero Serra” also delves into the preservation and reconstruction of the missions as physical structures; the persistence of Indian culture from before the mission period to the present; the missions’ enduring place in California culture today; and a wide variety of perspectives—some of them irreconcilable—on Serra and the meaning of his life.

 

“It’s a rich, complex, and multi-faceted story, and one that has not been told before in an exhibition of this magnitude,” said Steven Hackel, co-curator of the exhibition, professor of history at the University of California, Riverside, and Serra biographer (Junípero Serra: California’s Founding Father, 2013). “Serra was 55 years old and had had a very full life by the time he came to California in 1769. In this show, we are working to move beyond the standard polemic that often surrounds Serra and the missions. We present a picture that is equally rich in its portrayal of not only Serra’s life but the meaning of the missions for a range of California Indians.” The general tendency is to think that Serra’s life work began with the Califor­nia missions, Hackel added, and that Indian culture disappeared with the onset of those missions. “The exhibition challenges both of these assumptions.”

 

Contemporary art, including a video work created expressly for the exhibition by James Luna (Luiseño), and first-person narratives by descendants of the missions “defy any presumptions that Native Americans ‘vanished’ or that they hold a monolithic view about the mission past,” said Catherine Gudis, co-curator of the exhibition and professor of California and public history at the University of California, Riverside. “Rather, the show represents a range of responses—including resistance and resilience—as the result of a period of painful disruption and devastating change.”

 

Among key items in the exhibition are a host of rare paintings and illustrations documenting the history of the Spanish island of Mallorca, Serra’s life, 18th-century Catholic liturgical art, and New Spain, as well as several sketches and watercolors that are among the first visual representations of California and California Indians by Europeans. “These images are not only beautiful,” says Hackel, “but they are among the most important ethnographic representations of California Indian life at the onset of the missions and of Indian life in the missions.”

 

Also on view are Serra’s baptismal record from Mallorca, his Bible and lecture notes from Mallorca, and the diary he composed as he traveled from Baja California to San Diego in 1769. Notable and unique items documenting Indian culture in California include a textile fragment that is thousands of years old, woven by California Indians from seaweed and fiber, as well as beads, tools, baskets, and written documents from the colonial period. “Like the Spaniards, these were people who had a significant history and culture well before the Europeans showed up, and it was a history and culture that would persevere, although not without huge changes, in and after the missions,” said Gudis.

 

“Junípero Serra” provides a sweeping examination of where Serra came from, including the history and culture of Mallorca well before his time and during his early life; where Serra traveled, including his early adult years performing missionary work from central Mexico to Baja; and finally, his work to establish a system of missions along the California coastline from south to north.

 

At the same time, it provides the backdrop against which the missions emerged: early California was populated by numerous and diverse groups of Indians. Culture and customs varied from village to village; more than 100 languages were spoken; and in the parts of California colonized by Spain, the Indians numbered nearly 70,000.

 

Serra, under the auspices of the Catholic Church and the Spanish flag, believed his mission was to convert them to Christianity. However, his dream of encouraging Indians to relocate to the missions ultimately led many to an early grave, as diseases killed thousands of Indians who lived there.

 

“The mission period was a defining one in California’s history—and Serra is the most visible symbol of that period,” said Hackel. “But in taking this story all the way through—from before Indians and Europeans made contact, through the construction and collapse of the mission system, and then to the present day—it is, in fact, a story of conflicting, blending, and overlapping cultures, of imperial expansion and human drama and loss, and then, finally, of the perseverance and survival of not only European institutions in California, but the California Indians who were the focus of Serra’s missions.”

 


Exhibition Flow

 

Serra in Mallorca
Junípero Serra was born Miquel Joseph Serra on Nov. 24, 1713, in the Spanish village of Petra, which is located on the island of Mallorca in the Mediterranean Sea. The son of a farmer, he spent his early childhood working the family’s land and attending a Franciscan school; Catholicism loomed large in both his home and in the greater community. At an early age, he began studying for the priesthood, and when he joined the Franciscan Order, he took the name Junípero, in honor of one of the followers of Saint Francis of Assisi. He rose quickly through the ranks of the Franciscan hierarchy in Mallorca and soon held an important position as a professor of theology at the Lullian University in the Mallorcan capital of Palma.

 

“Junípero Serra and the Legacies of the California Missions” includes a number of documents and objects from Mallorca from that time, including a silver chalice from the Franciscan convent in Palma; a woodcut depicting juniper used by Serra and perhaps carved by him; and spectacular period maps, drawings, and paintings.

 

“We want to convey the sense that Mallorca was a place with a deep history, one shaped by the island’s position at the crossroads of North Africa and the Western Mediterranean,” said Steven Hackel, co-curator of the exhibition and associate professor of history at the University of California, Riverside. The show displays two ceramic bowls from Mallorca—one from the 14th century decorated with the Star of David, and the other from one century before, showing Arabic writing—depicting the island’s strong Jewish and Arabic roots. “It’s important to note,” Hackel said, “that Serra came from a place where very different cultures had been in contact and even conflict for hundreds of years.”

Serra in Mexico
As was typical for a Franciscan of his day, Serra traveled the Mallorcan countryside on foot, preaching the gospel. Then, in 1749, he and several Franciscan colleagues decided to go to Mexico as missionaries. He arrived in the capital of Mexico on Jan. 1, 1750. For eight years, he worked in the Sierra Gorda region of Mexico, overseeing five pre-existing missions and supervising the building of permanent mission structures (designated a world heritage site by UNESCO in 2003). The exhibition includes Serra correspondence from this period as well as documents showing his work as a field agent in Mexico for the Spanish Inquisition, investigating individuals accused of witchcraft.

Serra in Alta California
In 1769, Spain, eager to lay full claim to the area that would become California, called on Serra to help establish and run missions in San Diego, Monterey, and points in between. Spanish officials were worried that Russians or other Europeans might otherwise attempt to settle there. Serra, in the company of other Franciscans and dozens of soldiers, worked his way north and established Mission San Diego in the summer of 1769. One year later, the Franciscans established a mission and presidio in Monterey, and it was there in the summer of 1770 that Serra and Gaspar de Portolá, the interim governor of California, took possession of Alta California for Spain.

 

Indian labor was essential to building and sustaining the missions, as drawings and letters in “Junípero Serra” depict. There is also evidence of a blending of cultures. “For instance, Indians brought musical skills and traditions to the missions, elements of which made their way into Catholic liturgical music,” says Catherine Gudis, co-curator of the exhibition and associate professor of history and director of the public history program at the University of California, Riverside. Drums and other instruments as well as elaborate handmade choir books will be on display, along with several highly prized California Indian baskets made for European audiences or visiting dignitaries. The Chumash women who made them used traditional plant materials and motifs but also wove heraldic designs identical to those on Spanish colonial coins in circulation during the mission period. Also on display are woodworking and carved sculptural ornaments made by Indian artisans, some of whom likely apprenticed with Mexican craftsmen.

 

Serra’s work was as dramatic as it was passionate. In support of his efforts to convert Indians to Catholicism, he ordered monumental oil paintings for the mission walls, showing the mission’s patron saints, for example. One large (six by seven feet) painting depicts the “glory of heaven” in order to make his understanding of the afterlife more tangible to a people unfamiliar with it, says Hackel. That picture, by Serra’s favorite Mexican painter, José de Páez (1720–ca. 1801), is on view, as well as other significant works of liturgical art from Serra’s time.

 

“Junípero Serra” also includes displays based on the Early California Population Project, a database of sacramental records created by the Franciscans, which The Huntington compiled and Hackel oversaw. The database contains the baptism, marriage, and burial records of many of the more than 80,000 Indians who lived in the California missions. Using the database, Hackel and Gudis created two displays: one shows how Indians moved from their villages to the missions, and how their villages eventually disappeared; the other presents the original native names and the Spanish given names of the tens of thousands of California Indians who lived and died in the missions, or came to the missions for baptism. The database itself is an online research tool for tracking Indian genealogy, connecting California Indians today to their ancestors.

The Missions after Serra
By the time Serra died in Mission San Carlos (Carmel) in 1784, he had shepherded the building of nine missions. Another 12 would be built before the missions were secularized and the mission effort abandoned in the 1830s under Mexico. At the same time the missions were dismantled, the status of the Indians was becoming increasingly imperiled, says Gudis. “With the conclusion of the Mexican-American War, the advent of the Gold Rush, and the incorporation of California into the Union in 1850, the Indian population was decimated and dispossessed, forced onto the most unproductive land and into the most exploitative wage labor,” she says. “With the rapid desire of Americans to claim the land, Indians were essentially stripped of any rights they had retained under Spanish and then Mexican rule.”

 

“Yet,” Gudis says, “the stripping of their civil rights in the American era was not what we saw depicted by artists in later decades.” Landscape painters Jules Tavernier (1844–1889) and Edward Deakin (1838–1923) and photographer Carleton Watkins (1829–1916) were among those who visited the mission ruins and depicted them, for the most part, devoid of the people who had provided a hand in their construction. Decades later, through the efforts of local boosters and promoters, the missions would become tourist attractions and a defining architectural motif for California, influencing the look of commercial, religious, and residential structures. “From red tile roofs to the mission plays and the story of Ramona, missions took on a different and highly romanticized meaning—creating a Spanish fantasy past for the state,” she added. Tourist souvenirs, family photographs—including Ektachrome color slides from the 1950s and 1960s—and other mementos are on view in the exhibition.

 

“Junípero Serra” also includes a gallery displaying cultural expressions of contemporary Native and non-Native artists that reinterpret the mission period and wrestle with the current legacies of Serra. From Linda Yamane, a Rumsien Ohlone artist from the Monterey area, comes an intricately woven ceremonial basket with feathers and shells, a type of basketry produced for the first time in more than 200 years and marking her revival of basket traditions that had essentially vanished. Gerald Clarke, of Cahuilla heritage, displays a different sort of meticulously assembled basket—this one made of aluminum from Budweiser and Coca Cola cans, while L. Frank, a Tongva member, offers her take on missions and mission revival through her comic strips. Luiseño artist James Luna rounds out the exhibition with a large video projection that assembles images of mission records, archival photographs from the turn of the 20th century featuring Indians at missions, and contemporary family portraits from the artist’s collection.

 

Wells Fargo is presenting corporate sponsor of ”Junípero Serra and the Legacies of the California Missions.”

Major exhibition support is provided by the Dan Murphy Foundation, the Milias Foundation, the Thomas and Dorothy Leavey Foundation, the Steinmetz Foundation, Scott Jordan, and the Turicchi Family Foundation. Additional support is provided by Heather and Paul Haaga, the William H. Hannon Foundation, the Walter Lantz Foundation, the Carrie Estelle Doheny Foundation, the Bill Hannon Foundation, the SahanDaywi Foundation, John and Dorothy Shea, and the United States-Mexico Cultural & Educational Foundation.

 

Contacts

Susan Turner-Lowe, 626-405-2147, sturner@huntington.org
Thea Page, 626-405-2260, tpage@huntington.org

 

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Related Book

 

A new biography by co-curator of the exhibition Steven Hackel, Junípero Serra: California’s Founding Father, is available at The Huntington's Bookstore & More. Beginning with Serra’s years in Mallorca as a priest and professor, exploring his time in Mexico working in the Sierra Gorda and as an itinerant preacher, and detailing his final years on the California coast as an uncompromising missionary and shrewd administrator, the book reveals Serra’s potent blend of Franciscan piety and worldly cunning. A man of indomitable will, Serra outmaneuvered a series of royal officials to establish himself as the great mission builder of his time. But for all his success in bringing Spanish customs and Christian beliefs to Native Americans on the Pacific coast, his legacy today is highly contested. On the 300th anniversary of Serra’s birth, Hackel’s biography presents a complex, authoritative study of a man whose life continues to be celebrated and denounced.

Junípero Serra: California’s Founding Father, by Steven W. Hackel, Hill and Wang (Farrar, Straus and Giroux) 9/3/2013. 6 x 9 in., 352 pages, 16 pages of black-and-white illustrations/4 maps/notes/further reading/Index – $27

 

Events

 

A Taste of Art: California Mission Foods
Sept. 7 (Saturday) 9 a.m–12:30 p.m.
Join chef and educator Maite Gomez-Rejón from ArtBites and discover how Spanish and Native cultures blended together in the California missions. Participants will tour the exhibition and prepare a meal blending Old and New World flavors. Members: $85. Non-Members: $95.

Curator Tour
Sept. 11 (Wednesday) 4:30–5:30 p.m.
Join co-curators Steven Hackel and Catherine Gudis for a private tour of the exhibition and gain insights into the life of one of the most influential, yet least understood, figures in California history. Members: $15. Non-Members: $20. Registration: 626-405-2128.

 

Lecture: The Life and Times of Junípero Serra in Borderlands Perspective
Sept. 19 (Thursday) 7:30 p.m.
David Hurst Thomas of the American Museum of Natural History compares Father Serra’s missionary practices with those of his predecessors in the American Southwest, Texas, and Spanish Florida and examines the way in which he accommodated his missions to the uniquely Californian native communities.  The program is co-sponsored by the Academy of American Franciscan History. Free. Reservations:  800-838-3006 or brownpapertickets.com.  Ahmanson Room, Botanical Center.

 

Conference - “Junípero Serra: Context and Representation, 1713 to 2013”
Sept. 20–21 (Friday–Saturday), 2013
“Junípero Serra: Context and Representation” brings together an international group of scholars to explore the larger contexts within which Serra lived and the various ways he has been represented to allow a greater understanding of a man whose life was even more expansive and complex than the missions he established in California. Presented by The Huntington Library, Art Collections, and Botanical Gardens in association with the Academy of American Franciscan History and the USC-Huntington Early Modern Studies Institute. 


Children’s Workshop: Exploring the Missions
Sept. 21 (Saturday) 9:30–11:30 a.m.
What materials were used to build the California missions? And who lived there? With instructor Laura Moede, children will peek into the past to hear stories and learn how bricks and baskets were made before making their own adobe bricks and woven art to take home. Ages 5–8. Fee includes one accompanying adult. Members: $25. Non-Members: $30. Registration: 626-405-2128.

Film Screening: “6 Generations”: A Chumash Family’s History
Oct. 5 (Saturday) 1–3 p.m.
Descendants of the Barbareño Chumash tell a story of cultural survival and the power of the human spirit in this one-hour documentary. A discussion following the film will include Chumash elder Ernestine De Soto, anthropologist John Johnson, and historian Catherine Gudis. General admission. Ahmanson Room, Botanical Center.

Family Cooking Class: Californio Cuisine
Nov. 23 (Saturday) 9:30 a.m.–12:30 p.m.
Step back in time with chef Ernest Miller to prepare some authentic dishes from the earliest days of the California missions. What foods were available and how did early Califor­nians adapt to new fruits and vegetables? Includes a visit to the exhibition. Ages 7–12. Fee includes one accompanying adult. Members: $30. Non-Members: $35. Registration: 626-405-2128.


Web Resources for Teaching

The Huntington has developed a primary-source-based website relating to the exhibition. Based on California’s Common Core State Standards in support of 4th-grade curricula, “Exploring the California Missions” is available missionhistory.org

 


About The Huntington
The Huntington Library, Art Collections, and Botanical Gardens is a collections-based research and educational institution serving scholars and the general public. More information about The Huntington can be found online at huntington.org.

Visitor information
The Huntington is located at 1151 Oxford Rd., San Marino, Calif., 12 miles from downtown Los Angeles. It is open to the public Monday, Wednesday, Thursday, and Friday from noon to 4:30 p.m.; and Saturday, Sunday, and Monday holidays from 10:30 a.m. to 4:30 p.m. Summer hours (Memorial Day through Labor Day) are 10:30 a.m. to 4:30 p.m. Closed Tuesdays and major holidays. Admission on weekdays: $20 adults, $15 seniors (65+), $12 students (ages 12–18 or with full-time student I.D.), $8 youth (ages 5–11), free for children under 5. Group rate, $11 per person for groups of 15 or more. Members are admitted free. Admission on weekends: $23 adults, $18 seniors, $13 students, $8 youth, free for children under 5. Group rate, $14 per person for groups of 15 or more. Members are admitted free. Admission is free to all visitors with advance tickets on the first Thursday of each month. Information: 626-405-2100 or huntington.org

 
[EDITOR’S NOTE: High-resolution digital images available on request for publicity use.]

 


Images

 

Request images

Jose de Paez, The Glory of Heaven, 1771-1772. Oil on canvas, 72 ½ × 88 ¾ in. Mission San Carlos Borromeo, Diocese of Monterey.   Juana Basilia, basket, n.d. Sumac, juncus textile, mud dye, 24 ⅖ in. diameter × 4 in. height. Santa Barbara Museum of Natural History.

Jóse de Páez, La Gloria del Cielo (The Glory of Heaven), 1771–72. Oil on canvas, 72 ½ × 88 ¾ in. Mission Carmel, Diocese of Monterey..

 

Juana Basilia, Chumash presentation basket with Spanish colonial coin designs, 1815–22. Deer grass, Indian rush, sumac, 24 ½ in. diameter, 4 in. height. Courtesy of the Santa Barbara Museum of Natural History.


 
 Cristobal de Villalpando, The Mystical City of God, 1706. Oil on canvas, 70 ⅞ × 44 ⅞ in. Museo Regional de Guadalupe/CNC-INAH, Guadalpue, Zacatecas.    Jose Cardero, India de Monterrey, n.d. Sepia on paper, 9 ¾ in × 7 in. Museo Naval, Madrid.

Cristóbal de Villalpando, La Mística Ciudad de Dios (The Mystical City of God), 1706. Oil on canvas, 71 × 45 in. Museo regional de Gaudalupe/CONACULTA– INAH, Guadalupe, Zacatecas Nacional del Virreinato, Mexico.

 

José Cardero, India e Indio de Monterey (Indians of Monterey), 1791. Sepia on paper, 9 ¾ in × 7 in. Museo Naval, Madrid.


 
G. Haven Bishop, Mission Play Lighting Display, n.d. Glass plate, 8 × 10 in. The Huntington Library, Art Collections, and Botanical Gardens.   Western Lithograph Company, Mission Memories crate label, 1910-1920. Color printed lithograph, 9 ⅞ × 10 ⅞ in. The Huntington Library, Art Collections, and Botanical Gardens.

G. Haven Bishop, Mission Play Lighting Display, n.d. Glass plate, 8 × 10 in. Huntington Library, Art Collections, and Botanical Gardens.


Western Lithograph Company, Mission Memories crate label, 1910–20. Color printed lithograph, 10 × 11 in. Huntington Library, Art Collections, and Botanical Gardens.


 
Jules Tavernier, Carmel Mission on San Carlos Day, 1875. Oil on canvas, 18 × 29 in. Courtesy of William and Merrily Karges.

Jules Tavernier, Carmel Mission on San Carlos Day, 1875. Oil on canvas, 18 × 29 in. Courtesy of William and Merrily Karges.


 
Miquel Bestard, Painting of Walled City of Palma, n.d. Ayuntamiento de Palma, Mallorca.

 

serra_missionsangabriel

Artist unknown, Painting of Walled City of Palma, n.d. Ayuntamiento de Palma, Mallorca.

 

Ferdinand Deppe, Mission San Gabriel, c.1832. Oil on canvas, 27 × 37 in. Santa Barbara Mission Archive-Library.


 
Artist unknown, Ohlone basket with beads, n.d. 4 ¼ × 6 ¾ × 6 ¾ in. Southwest Museum of the American Indian Collection, Autry National Center, Los Angeles; 2011.74.1.   Fra Francesc Caimari Rotge, Portrait of Serra; Retrat de fra Juníper Serra, 1790. Ayuntamiento de Palma, Mallorca.

Artist unknown, Ohlone basket with beads, n.d. 4 ¼ × 6 ¾ × 6 ¾ in. Southwest Museum of the American Indian Collection, Autry National Center, Los Angeles; 2011.74.1.

 

Fra Francesc Caimari Rotge, Portrait of Serra; Retrat de fra Juníper Serra, 1790. Ayuntamiento de Palma, Mallorca.


Francisco Palóu, Relación Histórica de la vida y apostólicas tareas del venerable padre fray Junípero Serra, 1787. Book, 8 ¼ × 12 in. open. The Huntington Library, Art Collections, and Botanical Gardens.   Carleton Watkins, Mission San Gabriel Arcángel, ca. 1877. Albumen silver print. The Huntington Library, Art Collections, and Botanical Gardens.

Francisco Palóu, Relación Histórica de la vida y apostólicas tareas del venerable padre fray Junípero Serra, 1787. Book, 8 ¼ × 12 in. open. The Huntington Library, Art Collections, and Botanical Gardens.

 

Carleton Watkins, Mission San Gabriel Arcángel, ca. 1877. Albumen silver print. The Huntington Library, Art Collections, and Botanical Gardens.


 
Linda Yamane (Rumsen Ohlone), ceremonial basket, 2012. Willow, sedge, bird feathers, and olivella-shell beads, 18 in. diameter, 14 in. height. Courtesy of the artist, supported by a grant from the Creative Work Fund.   Cathy L. Nelson-Rodriguez (Luiseño/Wailaki/Choctaw), James Tac, 2005. Oil on canvas, 31 × 31 in. Collection of James A. Luna.

Linda Yamane (Rumsen Ohlone), ceremonial basket, 2012. Willow, sedge, bird feathers, and olivella-shell beads, 18 in. diameter, 14 in. height. Courtesy of the artist, supported by a grant from the Creative Work Fund.


Cathy L. Nelson-Rodriguez (Luiseño/Wailaki/Choctaw), James Tac, 2005. Oil on canvas, 31 × 31 in. Collection of James A. Luna.


 
Photographer unknown, Mission Santa Barbara, March 1972. Kodachrome slide. Charles Phoenix Collection.

Photographer unknown, Mission Santa Barbara, March 1972. Kodachrome slide. Charles Phoenix Collection.

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