El Velorio de Oller en Nueva York

  • Jorge Soto Sánchez, El Velorio de Oller en Nueva York, 1974, revised 1984, hand-colored screenprint, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2013.60.1, © Hermiñia Ramos

In the early 1970s, Soto Sánchez saw Francisco Oller’s El Velorio (1893), an iconic Puerto Rican painting that depicts a baquiné, a folk Catholic custom that commemorates the death of a child. On the island this tradition resonates with African diasporic belief systems. Soto Sánchez’s version takes place in New York City and is populated by figures that sprout heads from joints and other parts of their bodies. These mutating forms are visual manifestations of ritualized spirit possession central to Santeria. Soto Sánchez formed part of a community of diasporic Puerto Rican artists who, unlike many cultural elites on the island, affirmed the importance of Afro-Puerto Rican culture.

Our America: The Latino Presence in American Art, 2013

El Velorio de Oller en Nueva York
1974, revised 1984
Not on view
sheet and image: 25 7839 78 in. (65.7101.3 cm)
Credit Line

Smithsonian American Art Museum

Museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Mediums Description
hand-colored screenprint
  • Cityscape – New York
  • Architecture Interior
  • Figure group
Object Number
Linked Open Data
Linked Open Data URI

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