Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

An Art Historian Encounters a Hybrid Global History at Home: Alfredo Ramos Martinez’s Designs for Sacred Spaces

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Religion and the Arts

‭Southern California’s hidden treasures include two church interiors containing elements designed by Alfredo Ramos Martinez (1871–1946). This Mexican-born artist trained in France, returned to take an activist role in Mexican revolutionary culture, and migrated to the United States in 1929. For sixteen years, his talents were in demand among members of the Hollywood elite. In 1934, he produced the fresco murals at the Santa Barbara Cemetery Chapel, a jewel of Spanish Revival architecture. His images crossed over traditional boundaries between the sacred and the profane. He created odes to human rights and suffering humanity, depicting Christ and his mother as indigenous peasants with dark-skinned New World ethnicity. A decade later in 1946, Ramos sketched designs for his final projects at St. John the Evangelist Church in Los Angeles: a series of stained glass windows representing fourteen multiethnic saints as well as incomplete oil painted Stations of the Cross that recall his earlier pictures of suffering humanity. The architectural setting—a modernist church with stripped-down forms and materials of concrete, steel, and neon—announces a radically transformed post-war industrial culture. The contrast of these two aesthetics, the Spanish Revival and the modernist, demonstrates an evolution in liturgical forms as Californians came to grips with global migrations and an evolving modernist identity.‬

Affiliations: 1: University of Alaska, Fairbanks


Full text loading...


Data & Media loading...

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Religion and the Arts — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation