Unknown. <em>Pachacuti, Tenth Inca, 1 of 14 Portraits of Inca Kings</em>, mid–18th century (probably). Oil on canvas, 23 9/16 x 21 9/16in. (59.8 x 54.8cm). Brooklyn Museum, Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon, 1995.29.10 (Photo: Brooklyn Museum, 1995.29.10_PS6.jpg)

Unknown. Pachacuti, Tenth Inca, 1 of 14 Portraits of Inca Kings, mid–18th century (probably). Oil on canvas, 23 9/16 x 21 9/16in. (59.8 x 54.8cm). Brooklyn Museum, Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon, 1995.29.10 (Photo: Brooklyn Museum, 1995.29.10_PS6.jpg)

DOWNLOAD

Download our app and ask your own questions during your visit. Here are some that others have asked.

Who are they?

This series of 14 bust-length portraits represents historical Inca kings. Their names and positions in the line of royal succession are inscribed on the decorative roundels around each portrait.

I was wondering if these chiefs are real historical figures?

Yes, they are. This series of 14 bust-length portraits represents historical Inca kings.

The earliest known Inca portraits were painted in Cuzco, the former capital of the Inca empire in the Peruvian Andes, as a kind of historical record. Painted for a local market, these portraits helped people to trace their lineage to the pre-Hispanic past. In Cuzco, they were visible manifestations, albeit in European form, of the ancestors who originally built the city. These portraits helped to maintain a historical identity of an idealized past existing prior to the Spanish Conquest.

In order to legitimize claims to noble lineage in the viceroyalty of Peru, members of the Inca elite often conspicuously displayed in their homes Europeanized portraits of their ancestors, the fourteen ancient Andean rulers.

Any idea if they're related or if they were elected by people? And also what time period did they rule?

Yes, they were related. For example: Sinchi Roca, Second Inca King was the son and successor of Manco Cápac and the father of Lloque Yupanqui, the third Inca King. I do not believe they were elected by the people. The first Inca King, Manco Capac ruled from 1500-1545. They all ruled for an average of 30 years.

Were these painted before or after Emperor Pachacuti's rule?

They are much later than the reign of Pachacuti. He lived during the 15th century and these were all painted in the 18th. And actually, one of the portraits is of Emperor Pachacuti.

Tell me more.

The tenth king of the Inca, Pachacuti, transformed the Kingdom of Cusco into the empire Tawantinsuyu or the Inca Empire. The famous site of Machu Picchu was very probably built as an estate for this king!

Pachacuti means "he who shakes the earth,"a reference to how big an impact he had on his empire!

What do these works convey about the Incas?

These paintings were meant to convey a sense of pride in Inca heritage. They were created in the Spanish colonial period in the city of Cuzco, which had been the capital of the Inca Empire. This set would have belonged to an indigenous elite family.

The medium of oil painting, however, illustrates a blending of cultures in colonial Peru. The technique was something the Inca adopter from the European invaders, but that quickly became very popular.

I’m ten years old and I’m wondering what these are! Do they represent months?

That is a really good guess but no, these are portraits of twelves of the fourteen historical Inca kings!

Interesting!

They would have been proudly displayed in the home of a wealthy indigenous family in colonial-era Cuzco.

Some of the kings had been dead for hundreds of years by the time these portraits were made. Painting them was a way of honoring the family's cultural history.

Thank you!

What do the words above the portraits mean? Are they describing an important date?

The writing above each portrait is the name and title for each individual.

For example, one reads, "Aiarmanqo Capac Primer Rey. Del Cuzco." "Manco Capac" translates to "Powerful Ancestor."

Thank you so much. This was very helpful and informative!

So I read these were from Inca aristocracy from the 18th century. How much of that culture was left by then? Up in the mountains of the Andes?

These portraits were painted in Colonial Cuzco, the historical capital of the Inca Empire; they would have been proudly displayed in the home of an indigenous elite.

Even at this time, around the mid 18th century, there was still an acknowledgment of the Incan past before colonization.

These portraits would have been an important demonstration of royal genealogy for indigenous elite families in the new social order.

Pachacuti, Tenth Inca, 1 of 14 Portraits of Inca Kings

American Art

Although indigenous people ranked below Spaniards in Spanish America’s social order, direct descendants of pre-Hispanic nobility were afforded certain political privileges, including the right to hold office in local government. In order to legitimize claims to noble lineage in the viceroyalty of Peru, members of the Inca elite often conspicuously displayed in their homes Europeanized portraits of their ancestors, the fourteen ancient Andean rulers.

The Inca had no pictorial portraiture tradition before the conquest. Soon after European contact, however, series of Inca kings painted by local artists in European portrait styles started to appear in indigenous and Creole inventories. This bust-length portrait series is based on a 1615 Spanish engraving (see illustration).

Aunque los indígenas estaban por debajo de los españoles en el orden social de Hispanoamérica, a los descendientes directos de la nobleza prehispánica se les permitían ciertos privilegios políticos, incluyendo el derecho de tener cargos en el gobierno local. Para legitimar la atribución de linaje noble en el virreinato del Perú, miembros de la élite inca frecuentemente exhibían en sus casas retratos europeizados de sus ancestros, los catorce gobernantes andinos.

Antes de la conquista los incas no tenían una tradición pictórica de retratos. Poco tiempo después del contacto europeo, series de retratos de los reyes incas pintados por artistas locales al estilo de los retratos europeos comenzaron a aparecer en inventarios indígenas y criollos. Esta serie de bustos pintados está basada en un grabado español de 1615 (ver ilustración).

ARTIST Unknown

CULTURE Peruvian

MEDIUM Oil on canvas

Place Made: Peru

DATES mid–18th century (probably)

PERIOD Colonial Period

DIMENSIONS 23 9/16 x 21 9/16in. (59.8 x 54.8cm) frame: 29 1/8 x 27 5/16 x 2 13/16 in. (74 x 69.4 x 7.1 cm) (show scale)

INSCRIPTIONS On roundel: "Pachacuti Yu Pan qui Decimo Ynqa"

COLLECTIONS American Art

ACCESSION NUMBER 1995.29.10

CREDIT LINE Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon

CATALOGUE DESCRIPTION Portrait of Pachacuti, the Tenth Inca King, dressed in the finery of his office and holding a staff in his left hand and a shield in his right. This portrait is part of a series of 14 Inca King portraits that is based on the engraving by Antonio de Herrera, which in turn is based on a painted prototype (see Converging Cultures, 1996, p. 239).

EXHIBITIONS

MUSEUM LOCATION This item is not on view

CAPTION Unknown. Pachacuti, Tenth Inca, 1 of 14 Portraits of Inca Kings, mid–18th century (probably). Oil on canvas, 23 9/16 x 21 9/16in. (59.8 x 54.8cm). Brooklyn Museum, Dick S. Ramsay Fund, Mary Smith Dorward Fund, Marie Bernice Bitzer Fund, Frank L. Babbott Fund, gift of The Roebling Society and the American Art Council, purchased with funds given by an anonymous donor, Maureen and Marshall Cogan, Karen B. Cohen, Georgia and Michael deHavenon, Harry Kahn, Alastair B. Martin, Ted and Connie Roosevelt, Frieda and Milton F. Rosenthal, Sol Schreiber in memory of Ann Schreiber, Joanne Witty and Eugene Keilin, Thomas L. Pulling, Roy J. Zuckerberg, Kitty and Herbert Glantz, Ellen and Leonard L. Milberg, Paul and Thérèse Bernbach, Emma and J. A. Lewis, Florence R. Kingdon, 1995.29.10 (Photo: Brooklyn Museum, 1995.29.10_PS6.jpg)

IMAGE overall, 1995.29.10_PS6.jpg. Brooklyn Museum photograph, 2012

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RIGHTS STATEMENT No known copyright restrictions

This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement. You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form (charges apply). The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org.

RECORD COMPLETENESS

Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome any additional information you might have.