Registros-Inventarios Museo Nacional de Arte Moderno, 1900-1936. Núm. 85A.
The painting "Martín de Mayorga" by renowned Mexican artist José de Alcíbar, born in 1730 in Mexico City, depicts the 47th Viceroy of New Spain Martín de Mayorga Ferrer, who in life achieved the positions of Captain General of Guatemala (1773-1779) and was Knight of the Order of Alcántara, where he served as field marshal. In addition, to being the viceroy who supported and authorized the project, making possible the creation and founding of the Academy of San Carlos, the first academy of fine arts in the Americas, which professionalized the training of artists.
Although the exact date of the work's creation is unknown, it is believed to date from around the late 18th century. In the painting De Mayorga is depicted in a three-quarter angle, with his gaze towards the left side of the painting. He is wearing a suit, composed of a black jacket with gold patterns, on the inside a bright red vest can be seen along with the same gold patterns as the jacket and a white elegant shirt underneath with ruffles on the chest, which are visible through the center of the vest. Due to his social standing, the artist depict him in a grey wig, which were a sign of wealth and of the elite in the New Spain, as at the time is was considered fashionable. On his left hand he is leaning his weight on a cane, while the right is inside of his pocket. Down on the right side of the painting a table with a document can be seen, along with two metal vases holding feather pens. The inscription at the bottom of the painting reads a small biography of the most renowned acknowledgments of Martín de Mayorga in an old Spanish version of the language used at the time.
Martín de Mayorga by José de Alcíbar is a dignified colonial portrait that effectively conveys the authority and status of the Spanish governor. The artist pays close attention to the details of the clothing, decorations, and formal posture, reflecting the elegance and hierarchy of eighteenth-century New Spain. The restrained color palette and balanced composition enhance the painting's sense of order and prestige. While the portrait is technically accomplished and historically significant, its rigid formality leaves little room for emotional expression or personal character. Overall, it is an impressive example of colonial portraiture that values realism, discipline, and official representation.
