Juan Patricio Morlete Ruiz
View of the Port of Antibes (From the series Ports of France) (Vista del puerto de Antibes [De la serie Puertos de Francia])1771

Not on view

Oil painting panoramic harbor view with a coastal city in the distance, animated procession of figures and carriages in the foreground, dramatic cloudy sky above

Oil painting of a horse-drawn cart surrounded by a crowd of figures approaching a stone gateway, with a coastal city, harbor, and sailing vessels visible in the background. Spanish text and a heraldic emblem appear along the lower edge.

Oil painting of four figures in 18th-century dress on a terrace or steps before a dark wall and trees. At center, two women in light-colored skirts and mob caps face a flower seller wearing a wide-brimmed straw hat and carrying a basket of blooms. At left, a seated man in tricorn hat leans on a ledge.

Artist or Maker: Juan Patricio Morlete Ruiz
Mexico, 1713-1772
Title: View of the Port of Antibes (From the series Ports of France) (Vista del puerto de Antibes [De la serie Puertos de Francia])
Date Made: 1771
Medium: Oil on canvas
Dimensions: Unframed: 39 9/16 × 61 1/8 in. (100.5 × 155.3 cm); framed: 43 1/2 × 64 1/2 × 2 7/8 in. (110.49 × 163.83 × 7.3 cm)
Credit Line: Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Accession Number: M.2007.197.3
Classification: Paintings
Collecting Area: Latin American Art
Curatorial Notes: Few works illustrate Mexican artists’ engagement with recent developments in European art better than Juan Patricio Morlete Ruiz’s imposing series of vedute (views). He painted two sets after Claude-Joseph Vernet’s monumental Ports of France (1754–65), which were commissioned for Louis XV (r. 171574) to celebrate France’s maritime prowess. These works became widely known through prints by Charles-Nicolas Cochin II (17151790) and Jacques-Philippe Le Bas (17071783) completed in 1767. Remarkably, Morlete Ruiz had access to the prints barely two years later, and from 1769 to 1772, he painted more than twenty canvases after them, including View of the Port of Antibes.

Quoting from, modifying, and elaborating on these scenes not only proved his virtuosity but also allowed him to position himself in relation to a transatlantic community of artists with shared intellectual interests. The inscription on one painting from the series, View of the Old Port of Toulon (M.2007.197.2), reads “copied in Mexico by Juan Patricio Morlete Ruiz the year 1771,” signaling his claim of authorship. The addition of the coat of arms of Charles III (r. 1759–88) in this set suggests that it may have been planned as a royal gift to take back to Spain. (For other paintings from the set in LACMA’s collection, see M.2007.197.1, M.2007.197.4, M.2007.197.5, and M.2007.197.6.)

Ilona Katzew

2024
Provenance: Possibly Viceroy Carlos Francisco de Croix, Marquis of Croix (r. 1766–71), 1771; private collection, Spain; Galerie Steinitz, Saint-Ouen and Paris, 1990s; Christie’s, New York, October 19, 2007, lots 97–99; LACMA, 2007.
Selected Bibliography: Katzew, Ilona, ed. Archive of the World: Art and Imagination in Spanish America, 1500–1800: Highlights from LACMA’s Collection. Exh. Cat. Los Angeles: Los Angeles County Museum of Art; New York: DelMonico Books/D.A.P., 2022.
Katzew, Ilona. “Valiant Styles: New Spanish Painting, 1700–1785.” In Painting in Latin America, 1550–1820, edited by Luisa Elena Alcalá and Jonathan Brown. New Haven, CT: Yale University Press, 2014, pp. 148–203.
Katzew, Ilona, ed. Painted in Mexico, 1700–1790: Pinxit Mexici. Exh. Cat. Los Angeles: Los Angeles County Museum of Art; Mexico City: Fomento Cultural Banamex; New York: DelMonico Books/Prestel, 2017.
Joseph Franek, Ilona Katzew, “A Collaborative Venture: The Conservation of Morlete’s Ports of France,” Unframed, April 25, 2013, https://unframed.lacma.org/2013/04/25/a-collaborative-venture-the-conservation-of-morletes-ports-of-france.
Ilona Katzew, “New Acquisitions in Spanish Colonial Art,” Unframed, March 17, 2009, https://unframed.lacma.org/2009/03/17/french-harbors-painted-in-new-spain.
Selected Exhibition History: Archive of the World: Art and Imagination in Spanish America, 1500–1800. June 22, 2024 - September 08, 2024
Archive of the World: Art and Imagination in Spanish America, 1500–1800. June 22, 2024 - September 08, 2024

Juan Patricio Morlete Ruiz
View of the Port of Antibes (From the series Ports of France) (Vista del puerto de Antibes [De la serie Puertos de Francia])1771

Not on view

Artist or Maker: Juan Patricio Morlete Ruiz
Mexico, 1713-1772
Title: View of the Port of Antibes (From the series Ports of France) (Vista del puerto de Antibes [De la serie Puertos de Francia])
Date Made: 1771
Medium: Oil on canvas
Dimensions: Unframed: 39 9/16 × 61 1/8 in. (100.5 × 155.3 cm); framed: 43 1/2 × 64 1/2 × 2 7/8 in. (110.49 × 163.83 × 7.3 cm)
Credit Line: Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Accession Number: M.2007.197.3
Classification: Paintings
Collecting Area: Latin American Art
Curatorial Notes: Few works illustrate Mexican artists’ engagement with recent developments in European art better than Juan Patricio Morlete Ruiz’s imposing series of vedute (views). He painted two sets after Claude-Joseph Vernet’s monumental Ports of France (1754–65), which were commissioned for Louis XV (r. 171574) to celebrate France’s maritime prowess. These works became widely known through prints by Charles-Nicolas Cochin II (17151790) and Jacques-Philippe Le Bas (17071783) completed in 1767. Remarkably, Morlete Ruiz had access to the prints barely two years later, and from 1769 to 1772, he painted more than twenty canvases after them, including View of the Port of Antibes.

Quoting from, modifying, and elaborating on these scenes not only proved his virtuosity but also allowed him to position himself in relation to a transatlantic community of artists with shared intellectual interests. The inscription on one painting from the series, View of the Old Port of Toulon (M.2007.197.2), reads “copied in Mexico by Juan Patricio Morlete Ruiz the year 1771,” signaling his claim of authorship. The addition of the coat of arms of Charles III (r. 1759–88) in this set suggests that it may have been planned as a royal gift to take back to Spain. (For other paintings from the set in LACMA’s collection, see M.2007.197.1, M.2007.197.4, M.2007.197.5, and M.2007.197.6.)

Ilona Katzew

2024
Provenance: Possibly Viceroy Carlos Francisco de Croix, Marquis of Croix (r. 1766–71), 1771; private collection, Spain; Galerie Steinitz, Saint-Ouen and Paris, 1990s; Christie’s, New York, October 19, 2007, lots 97–99; LACMA, 2007.
Selected Bibliography: Katzew, Ilona, ed. Archive of the World: Art and Imagination in Spanish America, 1500–1800: Highlights from LACMA’s Collection. Exh. Cat. Los Angeles: Los Angeles County Museum of Art; New York: DelMonico Books/D.A.P., 2022.
Katzew, Ilona. “Valiant Styles: New Spanish Painting, 1700–1785.” In Painting in Latin America, 1550–1820, edited by Luisa Elena Alcalá and Jonathan Brown. New Haven, CT: Yale University Press, 2014, pp. 148–203.
Katzew, Ilona, ed. Painted in Mexico, 1700–1790: Pinxit Mexici. Exh. Cat. Los Angeles: Los Angeles County Museum of Art; Mexico City: Fomento Cultural Banamex; New York: DelMonico Books/Prestel, 2017.
Joseph Franek, Ilona Katzew, “A Collaborative Venture: The Conservation of Morlete’s Ports of France,” Unframed, April 25, 2013, https://unframed.lacma.org/2013/04/25/a-collaborative-venture-the-conservation-of-morletes-ports-of-france.
Ilona Katzew, “New Acquisitions in Spanish Colonial Art,” Unframed, March 17, 2009, https://unframed.lacma.org/2009/03/17/french-harbors-painted-in-new-spain.
Selected Exhibition History: Archive of the World: Art and Imagination in Spanish America, 1500–1800. June 22, 2024 - September 08, 2024
Archive of the World: Art and Imagination in Spanish America, 1500–1800. June 22, 2024 - September 08, 2024

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