Maya Stanfield-Mazzi is an art historian specializing in art of pre-Columbian and colonial Latin America, especially that of colonial Peru. She focuses on the ways in which Indigenous peoples of the Americas contributed to creating new forms of Catholicism. Her second book, forthcoming with the University of Notre Dame press, is entitled Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820.
Industry Expertise (2)
Areas of Expertise (2)
Art and History of Ancient and Colonial Latin America
Latin American Studies
Media Appearances (4)
What's Happening: Your 10-day forecast for March 5-14, 2021
The Gainesville Sun online
Join the UF College of the Arts and author Maya Stanfield-Mazzi online at 6 p.m. Thursday for the launch of “Clothing the New World Church: Liturgical Textiles of Spanish America, 1520-1820,” published in February 2021 by the University of Notre Dame Press. The book provides the first broad survey of church textiles of Spanish America and demonstrates that, while overlooked, textiles were a vital part of visual culture in the Catholic Church.
An Interview with Maya Stanfield-Mazzi, author of “Clothing the New World Church”
Notre Dame Press online
Maya Stanfield-Mazzi is an associate professor of art history at the University of Florida. She recently answered our questions about her new book, Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820 (February 15, 2021), published by Notre Dame Press on February 15, 2021. While there are several books on pre-Columbian textiles, Clothing the New World Church is the first study that deals with colonial textile arts. In the book she argues that the visual culture of cloth was an important and previously-unrecognized aspect of church art in the Americas, and she shows how a “silk standard” was established on the basis of priestly preferences for imported woven silks.
TEDxUF holds its first salon-style event of the year
The Independent Florida Alligator online
Maya Stanfield-Mazzi, 47-year-old UF art history professor, was a discussion leader for the first time. She said she enjoyed seeing people unrelated to the university talk with UF students and faculty members.
Art In Andean Religious Traditions And How It Evolved After Spanish Conquest
“They manifested their deities in these materials in beautiful and understated ways,” says University of Florida art historian Maya Stanfield-Mazzi, who explores how these ancient art forms helped craft Andean Catholicism in her book, Object and Apparition: Envisioning the Christian Divine in the Colonial Andes.
Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial PeruThe Americas
The first Christian churches were built in the Andes soon after Spaniards arrived.
El complemento artístico a las misas de difuntos en el Perú colonialAllpanchis
Este artículo trata de las obras de arte que se usaban en los templos andinos para fomentar el culto cristiano a los muertos durante la época colonial.
Cult, Countenance, and Community: Donor Portraits from the Colonial AndesReligion and the Arts
The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes (El Señor de los Temblores).
The Possessor's Agency: Private Art Collecting in the Colonial AndesColonial Latin American Review
In 1797 a woman named María Angela Cachicatari commissioned an accounting of her estate from a scribe in the city of Puno, Peru.
Shifting Ground: Elite Sponsorship of the Cult of Christ of the Earthquakes in Eighteenth-Century CuscoHispanic Research Journal
The cult of Christ of the Earthquakes, a statue enshrined in the cathedral of Cusco, Peru, began after a massive earthquake in 1650 and remains vibrant today. Recent scholarship has suggested that the cult developed among indigenous Andeans and that the Christ has always embodied aspects of traditional, non-Christian Andean deities.