Maquette for Bien Venida y Vaya Con Dios

Maria Alquilar, Maquette for Bien Venida y Vaya Con Dios, 1985, ceramic, copper foil, wire, paint and plastic, overall: 2918 3813 38 in. (73.746.734.0 cm.) top: 2316 149 18 in. (58.441.323.2 cm.) bottom: 12 3418 3813 38 in. (32.446.734.0 cm.), Smithsonian American Art Museum, Transfer from the General Services Administration, Art-in-Architecture Program, 1990.69A-B

Artwork Details

Title
Maquette for Bien Venida y Vaya Con Dios
Date
1985
Dimensions
overall: 2918 3813 38 in. (73.746.734.0 cm.) top: 2316 149 18 in. (58.441.323.2 cm.) bottom: 12 3418 3813 38 in. (32.446.734.0 cm.)
Credit Line
Transfer from the General Services Administration, Art-in-Architecture Program
Mediums Description
ceramic, copper foil, wire, paint and plastic
Classifications
Subjects
  • Animal — monkey
  • Religion — New Testament — Christ
  • Animal — rabbit
  • Religion — New Testament — Mary
  • Animal — coyote
  • Landscape — plant — cactus
Object Number
1990.69A-B

Artwork Description

Bien Venida y Vaya Con Dios, which translates as "Welcome and Go With God," was commissioned by the General Services Administration for the border station in San Luis, Arizona. Maria Alquilar created this sculpture to pay tribute to the resilient spirit of the Mexican people, who overcome adversity "[to] hope and work and live." The saguaro (cactus), which offers its water and flesh to those stranded in the desert, becomes an altar for Our Lady of Guadalupe. The baby she holds is a symbol of all Mexican children whose parents come to the United States in order to survive, while the cross stands among the rocks in memory of those who died in the attempt. The rattlesnake and spider monkey are native creatures of the Southwest, but the snake also stands for the temptation to leave one's home, as Adam and Eve left Eden, for "a more sophisticated hell than that which they have left." The coyote refers to the immigrant smugglers, or "coyotes," who take the immigrants' money and often leave them to die in the desert.

Works by this artist (22 items)

Martin Lewis, Tree, Manhattan, n.d., drypoint, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.194
Tree, Manhattan
Daten.d.
drypoint
Not on view
Martin Lewis, Night in New York, 1926, etching on paper, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.419
Night in New York
Date1926
etching on paper
Not on view
Martin Lewis, Derricks, 1927, drypoint on paper, Smithsonian American Art Museum, Gift of Page Cross, 1971.48
Derricks
Date1927
drypoint on paper
Not on view
Martin Lewis, Subway Steps, 1930, drypoint on paper, Smithsonian American Art Museum, Museum purchase, 1971.345
Subway Steps
Date1930
drypoint on paper
Not on view

Exhibitions

Media - 1979.159.44 - SAAM-1979.159.44_1 - 56988
Sculpture Down to Scale: Models for Public Art at Federal Buildings, 1974 – 1985
May 31, 2019November 22, 2020
Artists used preliminary models—or maquettes—to communicate their ideas.

More Artworks from the Collection

Marcus Root, Caroline Lamb Norris, ca 1855, daguerreotype with tinting, Smithsonian American Art Museum, Gift of Charles Isaacs and Carol Nigro, 1999.86.2
Caroline Lamb Norris
Artist
Attributed to Marcus Root
Dateca 1855
daguerreotype with tinting
Not on view
Unidentified, The Reluctant Model (Young Child Being Held), ca 1850s, daguerreotype, Smithsonian American Art Museum, Gift of Charles Isaacs and Carol Nigro, 1999.86.1
The Reluctant Model (Young Child Being Held)
Artist
Unidentified
Dateca 1850s
daguerreotype
Not on view
Unidentified, Untitled (Young Boy), late 1840s, daguerreotype, Smithsonian American Art Museum, Gift of Charles Isaacs and Carol Nigro, 2000.83.17
Untitled (Young Boy)
Artist
Unidentified
Datelate 1840s
daguerreotype
Not on view
Unidentified, Garrison Tales from Tonquin by James O'Neill, 19th century, color process print, Smithsonian American Art Museum, 1982.19.3
Garrison Tales from Tonquin by James O’Neill
Artist
Unidentified
Date19th century
color process print
Not on view