The Founding of Mexico City

Jose Maria Jara is an accomplished academic painter of the 19th century whose work revolves around the Mexican culture and society. He was active during the Porfiriato era and the transitional period that followed after it. The Porfiriato or the Porfirian phase in Mexico is the timespan between 1876-1880 CE and 1884-1911 CE when, the then Mexican President; Porfirio Diaz ascended to power and established a virtual dictatorship. Initially, before his first tenure, Diaz adopted a "policy of conciliation" striving to end all political conflicts and adhering to the important factors such as the church and the landowning aristocracy, while also constructing a political machine to oppose the reelection of his rival Sebastian Tejada. After his first tenure, Diaz stepped down as president but worked to remain in power, his efforts paid off when he managed to formulate the election of an ally; Manuel Gonzalez as his successor. Later, dissatisfied with Gonzalez's work, Diaz sought presidency again and was reelected as President of Mexico from 1884. These political events had a major impact on the Mexican diaspora and influenced Jose Maria Jara's practice as well. Trained formally in the Academy of San Carlos, Jose was primarily interested in national history, Mexican culture, society and indigenous traditions. The contemporary political events of his era and the fostering cosmopolitan and multicultural atmosphere of 19th century Mexico further amplified this interest. 1889 CE marked the zenith of Jara's career, in this year, he produced his most celebrated artwork of the costumbrista genre titled "El Velario" which translates to "The Wake". He painted "The Founding of Mexico City" in the same year, which went on to become one of his most popular historical painting. The artwork captures the legendary moment when the indigenous Mexica people discovered the site for the establishment of Tenochtitlan; the future Mexico City. The artwork shows Tenoch; the Mexica leader standing in the center of the composition while being informed by the priest Cuauhtloquetzqui who is being foretold about the divine significance the location holds by the god Huitzilopochtli. The priest gestures towards the point which he encountered in the sacred vision he got, signaling to the chief about it being the holy site where the eagle had devoured a snake upon a nopal cactus; a prophetic symbol for the Mexica people which later became the Mexican emblem. The foreground depicts the remains of the serpent and the cactus as tangible evidence supporting the miraculous vision. The aesthetic exemplifies Jara's mastery over academic precision and also illustrates his growing interest in imagery exhibiting romantic realism. The figures are presented in a pyramidal composition that directs the viewer's attention towards Tenoch and the prophetic sign. The background molds the space into a realistic semi-arid setting while the colour scheme adds to the ambience by alluding the viewer's sensory perception to a warm tactility. Scholars and artists of the late 19th century after witnessing decades of social turmoil and political instability turned to pre-Hispanic history to build a unified national identity. The painting is particularly significant because it reflects this broader nationalist movement in 19th century Mexico.