Few religious icons dominate and inspire their subjects as powerfully as La Conquistadora, America's Oldest Madonna, has over the centuries. La Conquistadora's origins are shrouded in mystery, but Chevalier unveils surprising new information about this icon's amazing provenance and past.

While most books about Mary emphasize her role as the compassionate mother of God, this book uncovers her significant role as an active and often belligerent patron of warfare, as seen from the mosques and castles of medieval Iberia to the cities and shrines of colonial Mexico and finally to present-day New Mexico. Amy Remensnyder explores Mary's prominence on and off the battlefield in the culturally and ethnically diverse world of medieval Iberia, where Muslims, Christians, and Jews lived side by side, and in colonial Mexico, where Spaniards and indigenous peoples mingled. As this array of peoples turned to her to articulate their identities, Mary was drawn into both hostile and peaceful cross-cultural encounters. Although Mary became an icon of the Christian conquest of Muslims, medieval Muslims and Christians shared her, sometimes even joining together in rituals of worship in her churches. In the New World, some indigenous peoples of the Americas appropriated from the Spanish the idea of Mary as Conquistadora, using it to reinforce the identity they fashioned for themselves as native conquistadors. Offering a ground-breaking look at the Virgin Mary, La Conquistadora connects medieval and early modern understandings of this iconic figure to reveal her enduring legacy.

The oldest image of the Virgin Mary in the United States―a petite wooden statue―accompanied Spanish Conquistadors and missionaries to the Kingdom of Nuevo México in 1625. Her existence has been tumultuous. She was rescued from a burning church, kidnapped and held for ransom, and had her wooden form mutilated and remade. This book conveys the essence of devotion given to the statue who is yearly celebrated at "La Fiesta de Santa Fe" and yearly carried in procession based on a promise made over 300 years ago. She is the Queen of New Mexico, enthroned in her own chapel at the Cathedral Basilica of St. Francis of Assisi in the heart of Santa Fe, New Mexico. She has the wardrobe of a Spanish Queen with over 200 exquisite gowns and priceless crowns and jewelry. Her name is La Conquistadora, "Our Lady of the Conquest." Was she a conqueror of territories or a conqueror of hearts and healer of human weaknesses? This is her story. Sue Houser is a native of New Mexico and is interested in preserving the history and culture of the state. A retired social worker, she writes about the inspiration and passion behind the stories. This is her second historical, non-fiction book.

Written as an autobiography, the author lets this famous willow wood statue speak for herself, tell her own story from the time she was brought to New Mexico in 1625 by Fray Benavides until the present. Many photographs bring this remarkable history to life. Fray Ang lico researched, translated and annotated facts about the statue's history, its religious society, its fiestas and chapels, correcting the mistakes and folklore held as truth for more than two centuries. Fray Ang lico Ch vez has been called a renaissance man and New Mexico's foremost twentieth-century humanist by biographer Ellen McCracken. Any way you measure his career, Fray Ang lico Ch vez was an unexpected phenomenon in the wide and sunlit land of the American Southwest. In the decades following his ordination as a Franciscan priest in 1937, Ch vez performed the difficult duties of an isolated backcountry pastor. His assignments included Hispanic villages and Indian pueblos. As an army chaplain in World War II, he accompanied troops in bloody landings on Pacific islands, claiming afterwards that because of his small stature, Japanese bullets always missed him. In time, despite heavy clerical duties, Fray Ang lico managed to become an author of note, as well as something of an artist and muralist. Upon all of his endeavors, one finds, understandably, the imprint of his religious perspective. During nearly seventy years of writing, he published almost two dozen books. Among them were novels, essays, poetry, biographies, and histories. Sunstone Press has brought back into print some of these rare titles.

Months before Alma López's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition. Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America). Accompanied by a bonus DVD of Alma López's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.