The painting "Fray Bartolomé de las Casas" by Mexican artist Félix Parra, painted in 1875 during his studies at the Escuela Nacional de Bellas Artes, became one of the most representative paintings of the Mexican cultural landscape after the restoration of the Republic in 1867. The painting depicts Fray Bartolomé, a religious Dominican figure, who is the author of a famous book called "The Destruction of the Indies", which sought to highlight the abuses the Indigenous people had lived since the start of "La Conquista" and defended them. who becomes the counterpart to the military conquest, highlighting the countless crimes committed against the indigenous people. In the composition of the painting, the friar, positioned in the center, looks up at the sky with his arms crossed over his chest, addressing the heavens directly, holding a crucifix in his right hand.
At the feet of Bartolomeo, the aftermath of an attack towards an indigenous couple is depicted: the husband, who has been brutally murdered lies on the floor to the right, while the wife clinging to the friar, seeks his protection in the middle of this terrible tragedy. Additionally, in the lower left corner of the painting, one can see a burning incense stick that has been knocked over, the columns in the background are broken and a flowerpot filled with white flowers has been destroyed.
Alongside the painting "Galileo en la Universidad de Padua demostrando las nuevas teorías astronómicas", created two years prior, can be seen as perfect examples of the ideologies promoted by the school, which sought to promote a modern Mexican identity, taking into account the historical past of ancient Mexico before the Spanish conquest.
Fray Bartolomé de las Casas" by Félix Parra (1875), housed in the Museo Nacional de Arte in Mexico City, serves as a powerful historical and ideological critique of the Spanish conquest.the central focus of the artwork is Fray Bartolomé, a Dominican religious figure and author of The Destruction of the Indies, who famously stood as a counterpart to the military conquest by defending Indigenous peoples from systemic abuses. Parra’s composition emphasizes the tragic human toll of La Conquista; at the friar's feet lies the devastating aftermath of an attack on an Indigenous couple, where a brutally murdered husband stretches across the floor while his grieving wife clings desperately to the friar's robes for protection. The surrounding setting reinforces this narrative of profound cultural destruction, featuring a knocked-over incense stick, shattered columns, and a destroyed flowerpot filled with white flowers. Ultimately, this oil-on-canvas masterpiece stands alongside other academic works of its era as a deliberate effort to shape a modern Mexican identity—one that directly honors and grapples with the historical past of ancient Mexico before the arrival of European conquerors.
