Abstract
In the 1680s, a painting representing Franciscan missions and indigenous peoples in Central America was sent to Madrid from Mexico as a tactic to lobby for continued royal support. The discovery of this historical circumstance provides a means to analyze this work in depth as an example of visual persuasion in a transatlantic context. Because it was meant to be viewed far from its place of production, the painting offers a unique opportunity to consider the interpretative model of connectedness (rather than influence) for the study of art in the Iberian Atlantic world.
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