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2018, ANALES DEL INSTITUTO DE INVESTIGACIONES ESTÉTICAS
José Joaquín Bermejo, Cristóbal de Aguilar, Cristóbal de Lozano, and Pedro Díaz are not household names outside of Peru. However, these artists are among the most influential painters in the history of art of the eighteenth-century world. As the premier portrait painters in the global capital of Lima, these artists made visible the identities of powerbrokers who helped to shape the Ibero-American empire in its twilight. Collectively, Bermejo, Aguilar, Lozano, and Díaz facilitated a pictorial shift within a traditional genre that required archaism and repetition to maintain its cultural relevance. Their finished portraits visually demonstrate an emerging dissonance between artistic innovation and pictorial tradition. Through an examination of their late eighteenth-century corpus of work, this article demonstrates how artists adjusted the representation of elite bodies in portraiture to reflect the subtle disintegration of a unified colonized social body.
Walk into the historical museums of Lima and Buenos Aires today, and some of the first paintings you encounter are viceroy portraits. Commissioned and painted primarily during the eighteenth century, these imposing and innovative works of art launched the genre of political portraiture in South America. Often contrasted as socio-political opposites, Lima and Buenos Aires embraced similar artistic practices, social traditions, and innovative political tactics between 1750 and 1824. The viceroy portrait series were not only embedded in the Spanish colonial governance of the sub-continent, they were commissioned by the urban municipal councils as tools to be activated in local power negotiations. Official portraiture was an integral component of the late-colonial remapping of political and cultural boundaries. Visual and textual evidence, including parallel portrait traditions, public ritual and discourse, personal correspondence, and government records, provide the basis for contextualizing the viceregal portrait sub-genre within a cultural history of late-colonial South American portraiture. This study demonstrates that the viceroys, local elites, and their visually receptive subjects exploited portrait paintings and their display to construct municipal identities and to negotiate intra-continental political relationships. Portraiture became increasingly relevant in the dynamic social context of late eighteenth-century Lima and Buenos Aires. Municipal elites collaborated with artists in adjusting pictorial convention to make portraiture the primary cultural medium for self-identification. Cultural discourse in both cities focused on authority, a tangible and localized form of power, as an essential component of official identities. Political authority was conceptually debated and overtly contested in portrait paintings. As the viceregal portraits reveal, the viceroys, city councils, and their subjects carved out spheres of distinct but overlapping influence in an environment where boundaries were porous and negotiable. This comparative analysis of visual culture in the Viceroyalties of Peru and Rio de la Plata contributes to a broader socio-cultural understanding of the impact of art on imperial dynamics, asymmetrical power relations, and modes of constructing identity. Ultimately, the performance of power in official portrait collections became the foundation for the visual culture of nationhood in both Peru and Argentina.
This essay focuses on a unique Mexican folding screen (biombo) created in Mexico in the 17th century depicting a mitote (Moctezuma dance), Indian wedding, and flying pole (Los Angeles County Museum of Art). The text expands the author's earlier analysis of the screen (Casta Painting, 2004; Una visión del México del Siglo de las Luces, 2006), placing it within the context of Amerindian and viceregal festive traditions. Soon after the conquistador Hernán Cortés defeated the Mexica (commonly known as the Aztec) in 1521, their capital, Tenochtitlan, with its striking ceremonial center, was transformed into a Spanish city, the new locus of Spanish power and the setting for the emergence of a host of new political and religious rites. While in many ways these festive apparatuses introduced new forms of ritual and advanced a key new message—the willing submission to the Catholic prince—the indigenous communities of Central Mexico had had ample experience with highly ostentatious forms of ritual since pre-Hispanic times. This essay examines a number of texts and images that underscore the participation of Amerindians in festive rites in seventeenth-and eighteenth-century Mexico. Panegyric texts such as those describing the entry of a new viceroy or the ceremony of allegiance to a new monarch were carefully constructed to spread the idea of good governance. Native participation remained a fixture of many of these celebrations; how indigenous participants were represented and by whom are more complicated questions that are addressed in this essay.
2009, Colonial Latin American Review
2013, Journeys to New Worlds: Spanish and Portuguese Colonial Art in the Roberta and Richard Huber Collection
First American Art, Issue II, Fall 2013: Annick Benavides is interviewed by author America Meredith in reference to colonial Andean painting production in Cusco, Peru.
(Note: figure 2 is NOT at the Church of Our Lady of Copacabana in Lima. This is an editors' mistake, not mine)
2019, Journal of Art Historiography
2011
2019, Drawing Education – Wordwide!: Continuities - Transfers – Mixtures
Zeichnen war von der Frühen Neuzeit bis in die Moderne als Kulturtechnik fest in der Lebenswirklichkeit der europäischen Gesellschaft verankert. Der vorliegende Band fragt ausgehend von dieser Tatsache erstmals nach dem Stellenwert des Zeichnens auch in anderen Kulturräumen. Indigene Verfahren des Zeichnens und Zeichen-Lernens im arabischen, asiatischen, im latein- bzw. nordamerikanischen und auch europäischen Raum werden ebenso adressiert wie auch historische Transferprozesse didaktischer Methoden, ästhetischer Normen und ausbildender Institutionen des Zeichenunterrichts.
2019, Heidelberg University Publishing
From early modern to modern times, drawing was firmly anchored in the realities of European society as a cultural technique . Based on this fact, the present volume asks for the first time about the significance of drawing and drawing education in other cultural areas. Indigenous methods of drawing and sign-learning in Arabic, Asian, Latin American, North American and European countries are addressed, as well as historical transfer processes of didactic methods, aesthetic norms and educational institutions of drawing instruction. CONTENTS: Tobias Teutenberg Introduction: Towards a Global Perspective on the History of Drawing and Drawing Education Lamia Balafrej Figural Line: Persian Drawing, c. 1390–1450 Nino Nanobashvili The Epistemology of the ABC Method: Learning to Draw in Early Modern Italy Peter M. Lukehart Evidence of Drawing: Giovanni Battista Paggi and the Practice of Draftsmanship in Late Sixteenth-Century Italy Alexander Klee Forming a Common Language: The Teaching of Drawing in the Habsburg Empire from 1850 Johannes Kirschenmann, Caroline Sternberg “You Have to Draw with More Attention, More Dedication”: The Relevance of Drawing for Artistic Education at the Academy of Fine Arts Munich and its Significance in International Contexts Werner Kraus Picture and Drawing Education in Nineteenth-Century Java Elena S. Stetskevich Drawing Education at the Russian Academy of Sciences in the First Half of the Eighteenth Century Veronika Winkler Drawing Books and Academic Demands in the Viceroyalty of Peru Oscar E. Vázquez Drawing, Copying and Pedagogy in Mexico’s and Brazil’s Art Academies Harold Pearse Drawing Education in Canadian Schools: Late Nineteenth to Mid-Twentieth Century as Seen Through Drawing Textbooks Rikako Akagi, Kenji Yamaguchi The Evolution of Drawing Education in Modern Japan: The Impact of Traditional and Introduced Methods on the Artworks of Elementary Students in the Meiji Era Ok-Hee Jeong A Historical Review of Cultural Influences on Korean Art Education Xin Hu Drawing in China: Art and Art Education in the Wake of Modern China Judith Rottenburg The École des Arts du Sénégal in the 1960s: Debating Visual Arts Education Between “Imported Technical Knowledge” and “Traditional Culture Felt from Within” Charlotte Bank Art Education in Twentieth Century Syria Open Access Publikation: https://doi.org/10.17885/heiup.457 -
2010
2018, Visualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Americas, ed. Heather Graham and Lauren G. Kilroy-Ewbank, vol. 24, Brill’s Studies on Art, Art History and Intellectual History (BSAI) (Leiden: Brill).
2018, Oxford Bibliographies in Latin American Studies. Ed. Ben Vinson. New York: Oxford University Press
This essay looks at the history of the Inca emperor portraits and the emperor portrait cycle, and the role they played in sixteenth- and seventeenth-century Europe and the colonial New World. Using visual analysis to compare the various emperor portraits, as well as other relevant works, I examine the adaptations and manipulations of these portraits that took place. I will also make some historical comparisons between the conquest of Mexico and Perú. While both cultures were and remain vastly different, the Spanish conquistadors approached the conquest of both empires in many of the same ways. Most relevant to this perspective is the way that art was used by missionaries to indoctrinate natives, and how it was taught to native artists in order to create new works for growing monasteries and churches. This essay will thus demonstrate the ideological significance of the emperor cycles to natives, conquistadors and the European audience across the Atlantic, arguing that the portraits played a powerful role in assisting colonization as well as in thwarting the burgeoning Black Legend. In return, I argue, the ideology of these images was regularly subverted by defiant native artists, who were attempting to correct history or retain disappearing culture.
Autores: José Julio García Arranz, en Pedro Germano Leal y Rubem Amaral Jr (eds.), Emblems in Colonial Ibero-America: To the New World on the Ship of Theseus (Glasgow Emblem Studies 18), Glasgow, University of Glasgow/ Stirling Maxwell Centre/ Droz, 2017, pp.185-228; ISBN: 978-0-85261-954-4.
Essay discussing the mobility of painting in 18th-century Mexico based on the analyses of three groups of works that were produced in Mexico and exported to Europe (particularly Spain): (1) 2 monumental paintings depicting the newly established Corpus Christi convent in Mexico City for Indian cacicas (noblewomen) that were shipped to king Philip V; (2) a series of landscape paintings by Juan Patricio Morlete Ruiz sent to Malta and Spain; (3) a newly discovered painting by Antonio de Torres commissioned for the Franciscan convent church of San Luis Potosí that was shipped to Spain in the 19th century.
2017, Images Re-vues
From the 16th century, the Americas were the stage where local ethnic groups were made « alien to themselves » through religious and cultural European masks. Their agency (or « puissance d’agir ») relied in part on the perception of the (fashioned) appearance. In this article, I analyse its representative systems. Because the European Other is (dressed in) his apparition, I consider the baroque angel of the 17th and 18th centuries as an equivalent for the « Alien ». I argue that by this feature, he appears as an alienating agent, or even an alienated agent of and in this search for identity in which the extraterrestrial referent might act as a means to model the identity as and by an alteration. Through the semiotic analysis of socio-religious phenomena and paintings of the Seven Archangels and of scenes of religious processions, I identify frames that operated the agentive transfers between European and Indian clothing and cultural systems, and that on three levels – corporeal, cultural and imaginary. Thus I demonstrate that invading the image and imagination of the identity through culture, by interweaving the mecanisms of images, History and theatricality, (the habit of) the « alien » angel designed a well-formed frame where one (is re)presented (under) the mask of an altered clothing so that the indian dresses his self with an unalienated and quasi-disguising identity.
2016, Chasqui. Cultural Bulletin of the Ministry of Foreign Affairs.
It is a revised version, in English, of the text "Presentación. Una obra fundacional para los Estudios Andinos”, published originally as a presentation of the three volumes of the Fuentes documentales para los Estudios Andinos, 1530-1900, ed. by Joanne Pillsbury, PUCP Press, Lima, 2016 (Vol. I, pp. 13-21).
2002, Cleveland Studies in the History of Art
2013
This paper summarizes for the first time in German the current state of research on the materials of easel paintings from the 16th, 17th and 18th century in Peru. Publications dealing with materials used in Peruvian easel paintings are summarized and compared with Spanish Baroque painting treatises and art technological studies of the materials of pre-Hispanic Qeros and mural paintings. The analyzed materials are presented in the appendix in tabular form. It could be seen that all pigments which were used in colonial times in Peru were also in use in Europe. The only exception is orpiment, which was frequently used in colonial Peru but barely known in European easel painting.
While images of the Virgin Mary spinning are known from the early Middle Ages on, a specific depiction of the subject became popular in both Seville, Spain, and the Spanish-ruled Viceroyalty of Peru in the late-seventeenth and eighteenth centuries. Based on stories from the apocryphal gospels that tell of Mary’s childhood in the Temple—where she devotedly learned to spin, weave, and sew—these paintings show the Virgin as a young girl in three-quarters view, seated in a chair, holding a spindle and a distaff. Frequently coupled with a pendant image of the Christ Child pricking his finger on a crown of thorns, these complex devotional images invited contemplation not only on the Virgin’s virtuous yet humble nature, but her son’s future incarnation, suffering and sacrificial death. These paintings were produced in the hundreds, each nearly identical in pose and composition, for wealthy private patrons as well as convents and monasteries. Despite the iconography’s once exceptional popularity in both Seville and Peru an in-depth examination of the subject has escaped scholarly attention. While brief texts have focused on the paintings from South America, scholars have been largely unconcerned with, or even unaware of, the Spanish versions. This paper seeks to remedy the previously lopsided scholarship by exploring the paintings from both continents and investigating the form and mode of their trans-Atlantic transmission. It presents visual evidence that the image originated and proliferated in Seville in the late-seventeenth and early-eighteenth centuries, where its popularity was likely even greater than that in Peru. Additionally, while some scholars have argued that certain elements found in the Peruvian paintings are derived from indigenous Incan traditions—such as the Virgin’s hair curl, headband, and mantle with ornamental clasp—the presence of these details in the Spanish precedents argues for a more considered analysis of such syncretist readings. This paper offers a case study of an iconographic tradition shared by two related yet distinct cultures, underscoring the global nature of artistic transmission and influence found in the early modern Spanish world.
Symposium organized in conjunction with the historical exhibition Contested Visions in the Spanish Colonial World, which emphasized the concept of Indigenous agency in the formation of new identities following the conquest and problematized more facile notions of "syncretism," "hybridity," and cultural "convergence."
Este ensayo observa las insurrecciones populares del siglo XVIII no como episodios casuales o aislados, sino como síntomas de un sentimiento generalizado de descontento social e intensificado conflicto. Sentimientos cuya intensidad se incrementó durante la segunda mitad del siglo XVIII y culminó con la Gran Rebelión de 1780-1783 en el sur de los Andes, el levantamiento en Quito de 1765 y la Rebelión de los Comuneros en la Nueva Granada de 1781. Este artículo examina los trabajos que hacen referencia a estas revueltas, reconociendo el hecho que la producción académica de las insurrecciones de finales del siglo XVIII en las colonias americanas forman parte de los amplios debates académicos que abordan las insurrecciones fuera del contexto Andino, e incorpora preguntas promulgadas por los estudiosos de las revueltas campesinas y el conflicto armado en otros campos y otros periodos.
Five interrelated case studies from the sixteenth to the twentieth centuries develop the dynamic contrast between portraiture and pictorial genres newly invented in and about Latin America that do not represent their subjects as individuals despite the descriptive focus on the particular. From Jean de Léry's genre-defining proto-ethnographic text (1578) about the Tupinamba of Brazil to the treatment of the Creole upper class in New Spain as persons whose individuality deserves to be memorialized in contrast to the Mestizaje, African, and Indian underclass objectified as types deserving of scientific study, hierarchical distinctions between portraiture and ethnographic images can be framed in historical terms around the Aristotelian categories of the universal, the individual, and the particular. There are also some intriguing examples that destabilize these inherited distinctions, such as Puerto Rican artist José Campeche's disturbing and poignant image of a deformed child, Juan Pantaléon Aviles, 1808; and an imaginary portrait of Moctezuma II, c. 1697, based on an ethnographic image, attributed to the leading Mexican painter Antonio Rodriguez. These anomalies serve to focus the study on the hegemonic position accorded to the viewing subject as actually precarious and unstable, always ripe for reinterpretation at the receiving end of European culture. Resumo: Cinco estudos de caso interligados, abrangendo o período entre os séculos XVI e século XX, desenvolvem o contraste dinâmico entre retrato e novos gêneros pictóricos inventados na e sobre a América Latina, que não representam seus sujeitos como indivíduos, apesar da ênfase descritiva no elemento particular. Do texto proto-etnográfico e inaugurador de gênero, Jean de Léry (1578) sobre os Tupinambá do Brasil, ao tratamento dado à classe dominante Criole na Nova Espanha, como pessoas que merecem ser lembradas, em oposição à Mestizaje, aos africanos e aos indígenas das classes subalternas, objetificados como tipos merecedores de estudos científicos, distinções hierárquicas entre o retrato e imagens etnográficas podem ser enquadradas em termos históricos, sob as categorias aristotélicas do universal e do particular. Alguns exemplos intrigantes também existem, que desestabilizam essas distinções herdadas, tais como a imagem perturbadora e pungente da criança deformada, Juan Pantaléon Aviles, pintada pelo artista porto-riquenho José Campeche em 1808; e um retrato imaginário de Montezuma II, de c. 1697, baseado em uma imagem etnográfica atribuída ao reputado pintor mexicano Antonio Rodriguez. Essas anomalias servem para focar o estudo na posição hegemônica atribuída ao observador, denunciando-a como de fato precária e instável, sempre pronta para reinterpretação junto ao polo receptor da cultura europeia.
2019, Colonial Latin American Review
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher.
co-authored with Thomas BF Cummins
Catálogo completo (190 pp.) de la exposición virtual que se puede visitar en: http://www.andaluciayamerica.com/sala-de-exposiciones-virtuales/
2017
This article examines biographies of Christian Indigenous women written by missionaries in the 1720s in both New England and Mexico.
Within a century, Maerten de Vos’s design St Michael the Archangel moved rapidly between and across immigrant, courtly, mercantile and religious networks: copied by a Venetian print publisher, painters in Spain and in viceregal Lima and by ivory sculptors in colonial Manila. Using this print’s global circumnavigation as a formative case study, this article considers how early modern prints “went viral,” traversing vast geographic and cultural distances, working across and between various social networks in a manner analogous to contemporary digital media. Considering early modern print’s virality expands the study of the means of artistic production to a wider consideration of reception and dissemination. Beyond the binary of original and copy, virality helps to animate and illuminate the complex, multi-directional movement, reception and use of early modern prints in a global field.
The city council of Lima, Peru selectively commissioned and displayed viceregal portraits throughout the early modern period. Shortly after the city was founded, municipal authorities began to commission portraits of the governing viceroys, or royally appointed regional officials, for display in the ayuntamiento [city hall]. Over the course of more than two hundred years, the Lima city council amassed over forty viceroy portraits into an art collection that it maintained into the nineteenth century. Displayed on the walls of the city council meeting chambers, the Lima viceroy portrait series visualized the history of the viceroyalty from an internal perspective by materially documenting the constant struggle for local authority. Portraits were introduced into civic politics early in the sixteenth century when local and international bureaucrats used the images to establish or create the illusion of political alliances. Later viceregal portraits were recontextualized in civic spaces, where they were exhibited for their historic value, documenting the colonial past of South America. The viceroy portraits participated in a local history that was crafted by colonial subjects jockeying for power in South America. This paper explores how viceroy portraits, which on the surface appear to visualize a narrative of imperial splendor and absolutist governance, became a visual record of a local history that emerged during the period of Spanish colonial occupation. To the present day, the viceroy portrait collection remains conceptually and substantively instrumental in navigating the fluid circumstances of Iberoamerican politics.
This essay presents and justifies the translation strategy of a translation from Spanish to English of the webpages describing the permanent collection at MALI (Museo de Arte de Lima), a collection of art spanning 3,000 years at an art museum in Lima, Peru, as well as presenting a brief quality assessment of that translation. The translation strategy draws on Hans J. Vermeer´s skopos theory and Peter Newmark´s theory of communicative translation, with a modification to include the need to take into account the pragmatics of museum texts. An ST-TT function contrastive analysis, combining Chengzhi Jiang and Anna Trosborg´s models for quality assessment, provides the basis for presenting the translation difficulties, and the ways in which they were addressed.
2013, Journeys to New Worlds: Spanish and Portuguese Colonial Art in the Roberta and Richard Huber Collection
2019, Estudios Indiana 13: Culturas visuales indígenas y las practicas estéticas en las Américas desde la antigüedad hasta el presente
While the merging of forms, themes, and content in Colonial art is often considered to reflect hybrid identities of colonized peoples, this paper considers the ways that foreign imagery was incorporated and modified into vital traditional art genres as an active, selective, and strategic process. This study examines imagery and symbolism on a Colonial Inka painted wooden kero that portrays a ceremonial battle scene on one side, and a scene derived from a European print on the other. Despite the fact that the printed scene is contrary to certain aspects of Andean beliefs, the scene was incorporated into the vessel's decoration and modified to portray Andean symbolic content and the status of the vessel's owner. Taken together, the imagery on both sides convey important Andean cosmological themes. The probable owner of the kero was a kuraka, an indigenous noble who acted as an intermediary between Spanish colonizers and colonized Andean subjects. Kurakas commissioned objects such as painted keros that were not passive byproducts of hybrid colonized identities, but rather sent deliberate messages that conveyed power, prestige, and adherence to tradition to Spanish and Andean viewers alike.
2013, A. Peck, editor The Interwoven Globe: Worldwide Textile Trade 1500-1800. New York: Metropolitan Museum of Art. pp. 120-135