Magnificent catalog of the devotional sculptures of one of the leading Baroque artists in Brazil, Aleijadinho (b. Brazil c. 1734-1814). The authors have designated 3 phases in describing Aleijadinho's figurine, wood-carved, painted, devotional sculptures. The first phase (c. 1760-1774) demonstrates the formation of Aleijadinho's unique style. The second phase (c. 1774-1790) reveals a maturation of style and vigorous output of sculptures. The last phase (c. 1790-1812) is Aleijadinho still at the height of his creative powers despite a crippling disease. His last devotional sculptures feature a "sublime spirituality". Important catalogue of 128 lesser-known devotional figurines of Aleijadinho in full page photographs. Most of the sculptures were painted for a life-like appearance.
The Andean Hybrid Baroqueis the first comprehensive study of the architecture and architectural sculpture of Southern Peru in the late colonial period (1660s-1820s), an enduring and polemical subject in Latin American art history. In the southern Andes during the last century and a half of colonial rule, when the Spanish crown was losing its grip on the Americas and Amerindian groups began organizing into activist and increasingly violent political movements, a style of architectural sculpture emerged that remains one of the most vigorous and creative outcomes of the meeting of two cultures. The Andean Hybrid Baroque (also known as "Mestizo Style"), was a flourishing school of carving distinguished by its virtuoso combination of European late Renaissance and Baroque forms with Andean sacred and profane symbolism, some of it originating in the pre-Hispanic era. The Andean Hybrid Baroque found its genesis and most comprehensive iconographical expression in the architecture of Catholic churches, chapels, cloisters, and conventual buildings.
From monumental cathedrals to simple parish churches, perhaps as many as 100,000 churches and civic buildings were constructed in Mexico during the viceregal or colonial period (1535-1821). Many of these structures remain today as witnesses to the fruitful blending of Old and New World forms and styles that created an architecture of enduring vitality. In this profusely illustrated book, Robert J. Mullen provides a much-needed overview of Mexican colonial architecture and its attendant sculpture. Writing with just the right level of detail for students and general readers, he places the architecture in its social and economic context. He shows how buildings in the larger cities remained closer to European designs, while buildings in the pueblos often included prehispanic indigenous elements.
"Kelly Donahue-Wallace surveys the art and architecture created in the Spanish Viceroyalties of New Spain, Peru, New Granada, and La Plata from the time of the conquest to the independence era. Emphasizing the viceregal capitals and their social, economic, religious, and political contexts, the author offers a chronological review of the major objects and monuments of the colonial era." "In order to present fundamental differences between the early and later colonial periods, works are offered chronologically and separated by medium - painting, urban planning, religious architecture, and secular art - so the aspects of production, purpose, and response associated with each work are given full attention. Primary documents, including wills, diaries, and guild records, are placed throughout the text to provide a deeper appreciation of the contexts in which the objects were made."--BOOK JACKET.
The Art of Allegiance explores the ways in which Spanish Imperial authority was manifested in a compelling system of representation for the subjects of New Spain during the seventeenth century. Michael Schref- fler identifies and analyzes a corpus of "source" material-paintings, maps, buildings, and texts-produced in and around Mexico City that addresses themes of kingly presence and authority as well as obedience, loyalty, and allegiance to the crown. The Art of Allegiance opens with a discussion of the royal palace in Mexico City, now destroyed but known through a number of images, then moves on to consider its interior decoration, particularly the Hall of Royal Accord, and the numerous portraits of royalty and government officials displayed in the palace. Subsequent chapters examine images in which the conquest of Mexico is depicted, maps showing New Spain's relationship to Spain and the larger world, and the restructuring of space in and through imperial rule.
A lively account of the interaction between European and indigenous artisthat took place during more than 300 years of Spanish and Portuguese colonialnfluence in Latin America (c. 1492-1820). The book offers a fascinatingnsight into viceregal, missionary and civic architecture, as well asainting, sculpture and such 'minor arts' as furniture, textiles and ceramics.his is a long-awaited book on an increasingly popular subject and includes any previously unillustrated works.
The Art of Painting in Colonial Quito
by Suzanne L. Stratton; Judy de Bustamante; Carmen Fernández-Salvador
Publication Date: 2011-12-01
This is an exhibition catalog of paintings dating from the late 16th century through the early 19th century.
The Mayer Center for Pre-Columbian and Spanish Colonial Art at the Denver Art Museum held a symposium in 2008 to examine the arts of South America during the culturally complex period of Spanish and Portuguese colonialism in the early modern era. Specialists in the arts and history of Latin America traveled from Venezuela, Spain, Portugal, and the United States to present recent research. The topics ranged from architecture, painting, and sculpture to furniture and the decorative arts. Edited by Denver Art Museum curator Donna Pierce, this volume presents revised and expanded versions of the papers presented at the symposium.
"This book opens up the great age of Spanish and Portuguese sculpture, painting, architecture and the decorative arts. An array of arts from the Peninsula and Hispanic America of the sixteenth and seventeenth centuries, from the time of the Reconquest of Granada to the decline of the Habsburg dynasty in Spain, are presented here." "The book also discusses Spain's cultural relationships with the rest of Europe in the eighteenth and nineteenth centuries, particularly Britain, and explores the ambivalent ways in which Spanish art was viewed and received. Often prejudiced ideas about Spanish Catholicism and culture led to a biased understanding of Iberian arts. This view also affected the Spaniards' own view of their arts and traditions, and also the way in which the art of Spain is perceived today by others."--BOOK JACKET.
An excellent introduction to the Baroque and Rococo period, examining the style in the art and architecture of Europe, Latin America and Asia from 1570–1780. Includes the finest examples of the era in architecture, sculpture, paintings, prints, drawings, ceramics, furniture and interior design, and sets the art in its cultural and historical context. Richly illustrated by more than 200 colour reproductions, with glossary, biographies, chronology, maps and a further reading list supporting the text.
This lavishly illustrated volume-the first ever devoted to the museum’s Spanish Colonial collection as a whole-serves as a primer to this stellar art collection, framing it within the historical context of the early modern world and the first era of global trade. Organized by theme rather than chronology, it features photographs of more than 100 objects from all areas of Spanish America and the southwestern United States. Subjects discussed include, but are not limited to, the continuity of native traditions, church and mission art, hybrid art forms, regional styles, and the art of everyday life.
Contested Visionsoffers a comparative view of the two principal viceroyalties of Spanish America: Mexico and Peru. Spanning developments from the 15th to the 19th century, this ambitious book looks at the many ways and contexts in which indigenous peoples were represented in art of the early modern period by colonial artists, European artists, and themselves.
With the conquest of Mexico by Cortez and of Peru by Pizarro in the sixteenth century, two great American civilizations were brought under the control of the Spanish crown. The arrival in the newly taken territories of settlers from Spain forced an encounter between highly sophisticated cultures that had developed independently for thousands of years. In the course of the Spanish occupation of Mexico (New Spain) and Peru for three centuries, this confrontation of divergent ways of seeing and experiencing the world gave rise to new Latin American cultural traditions. Using as examples a selection of works from the collection of The Brooklyn Museum, Converging Cultures: Art & Identity in Spanish America documents these cultural continuities and transformations as evidenced in illustrated books, painting, sculpture, furniture, textiles, and other artifacts of everyday life in Spanish America from the Precolumbian period to the nineteenth century. These expressive and beautiful works testify to the strength and scope of Latin American creativity through several centuries of upheaval and renewal.
An amazing visual tour of Mexico's most spectacular and flamboyant churches, Divine Excess is a photographic tribute to the artistry, religious beliefs, and architectural ingenuity of Mexican Catholicism.
In 1789 don Ignacio Mazihcatzin, the Indian pastor of Yehualtepec, commissioned noted regional artist José Manuel Yllanes to do a set of oil paintings for his parish church. As a formal record of inquiry and approval between don Ignacio and the bishop of Puebla, the document includes depositions about the prospective paintings and watercolor sketches of them. From this material, art historian Cuadriello reconstructs both mythic and historic events in Tlaxcala's collective memory, providing an extensively contextualized study of art, society, religion, and history in eighteenth-century New Spain.
In its broad scope, the book reaches far beyond a mere deciphering of the symbolism of iconic images to provide a new social history of art for colonial Mexico. It will appeal to art historians, historians of colonial Latin America, and scholars interested in how indigenous communities took the initiative, through a mythic and prophetic discourse, to negotiate and claim their own place within New Spain.
This splendid publication is the result of a 5 year research project initiated by Dr. Elisa Vargaslugo, who along with a group of prestigious art historians gathered a collection of graphic testimonies, (some never seen before) portraying the Mexican "Naturales" (Indians) during the colonial period, highlighting their importance during the conquest, and their role as fundamental members of society. The book discusses the active participation of the Indians in the artistic production, especially their pictorial contributions in the evangelization process and the integration of the Indians into the European culture.
Reacting to the rising numbers of mixed-blood (Spanish-Indian-Black African) people in its New Spain colony, the eighteenth-century Bourbon government of Spain attempted to categorize and control its colonial subjects through increasing social regulation of their bodies and the spaces they inhabited. The discourse ofcalidad(status) andraza(lineage) on which the regulations were based also found expression in the visual culture of New Spain, particularly in the unique genre ofcastapaintings, which purported to portray discrete categories of mixed-blood plebeians.
From the late 16th to the end of the 18th centuries, when Brazil was a Portuguese colony, painting and sculpture was almost entirely religious in nature. Fired with zeal for the conversion of the indigenous peoples of Brazil, Jesuit, Franciscan and Benedictine missionaries exploited the sensory impact of painting, sculpture, music and drama to promote the faith there. The opulent, majestic and theatrical Catholicism that gradually took root appealed to the imagination and to the senses -- as did the Baroque art of Counter-Reformation Europe.
Examines in detail the murals painted on the vault walls of the Augustinian monastery at Malinalco, southwest of Mexico City, which have been progressively uncovered from layers of whitewash and restored since the 1970s. Shows how the combination of motives promoted the political and religious agendas of the Spanish conquerors, but also preserved a record of pre-Columbian rituals and imagery. - Book News, Inc., Portland, OR (booknews.com)
The art of Spain and Spanish America during the 17th century is overwhelmingly religious—it was intended to arouse wonder, devotion, and identification. Its forms and meanings are inextricably linked to the beliefs and religious practices of the people for whom it was made. In this groundbreaking book, scholars of art and religion look at new ways to understand the reception of use of these images in the practice of belief. As a result, the book argues for a fundamental reappraisal of the cultural role of the Church based on an analysis of the specific devotional and ritual contexts of Spanish art. Handsomely illustrated essays discuss paintings, polychrome sculptures, metalwork, and books. They call attention to the paradoxical nature of the most characteristic visual forms of Spanish Catholicism: material richness and external display as expressions of internal spirituality, strict doctrinal orthodoxy accompanied by artistic expression of surprising unconventionality, the calculated social projection of new devotional themes, and the divergence of popular religious practices from officially prescribed ones.
"Over nearly three centuries, Jesuit, Franciscan, and Dominican missionaries built a network of churches throughout the vast region known as New Spain, paving the way for later cathedrals and parochial churches. Since the early twentieth century, scholars have studied the colonial architecture of southern New Spain, but they have largely ignored the architecture of the north. However, as this book clearly demonstrates, the colonial architecture of northern New Spain - an area that encompasses most of the southwestern United States and much of northern Mexico - is strikingly beautiful and rich with meaning. After more than two decades of research, both in the field and in archives around the world, Gloria Fraser Giffords has authored the definitive book on this architecture." "Giffords has a remarkable eye for detail and for images both grand and diminutive. Because so many of the buildings she examines have been destroyed, she sleuthed through historical records in several countries and discovered that the architecture and material culture of northern New Spain reveal the influences of five continents. As she examines objects as large as churches or as small as ornamental ceramic tiles, she illuminates the sometimes subtle, sometimes striking influences of the religious, social, and artistic traditions of Europe (from the beginning of the Christian era through the nineteenth century), of the Muslim countries ringing the Mediterranean (from the seventh through the fifteenth centuries), and of northern New Spain's indigenous peoples (whose art influenced the designs of occupying Europeans)."--BOOK JACKET.
This publication includes essays on the Viceroyalty of Peru, 1544-1821, and the Cosec Circle of Andean Painting. Lavishly illustrated catalogue of paintings, furniture, silver and other decorative pieces.
Mexico's churches and conventos display a unique blend of European and native styles. Missionary Mendicant friars arrived in New Spain shortly after Cortes's conquest of the Aztec empire in 1521 and immediately related their own European architectural and visual arts styles to the tastes and expectations of native Indians. Right from the beginning the friars conceived of conventos as a special architectural theater in which to carry out their proselytizing. Over four hundred conventos were established in Mexico between 1526 and 1600, and more still in New Mexico in the century following, all built and decorated by native Indian artisans who became masters of European techniques and styles even as they added their own influence. The author argues that these magnificent sixteenth and seventeenth-century structures are as much part of the artistic patrimony of American Indians as their pre-Conquest temples, pyramids, and kivas. Mexican Indians, in fact, adapted European motifs to their own pictorial traditions and thus made a unique contribution to the worldwide spread of the Italian Renaissance.
Showcasing the prestigious collection of the Davenport Museum of Art-among the largest and most important Mexican colonial collections outside of Mexico City-this book addresses the development of Mexican colonial painting and its relationship with European art and civilization, the changing political and social dynamics of colonial Mexico and the contributions of its indigenous peoples.
"Focussing on cities and towns in south America, including Mexico City, Lima and Potosi this book examines the particular importance of cities in Spanish and Hispanic-American culture. It investigates the different ways in which artists, map-makers, surveyors and military engineers represented a city in all its complexity and the different meanings that were invested in their depiction of New and Old World cities and towns."--BOOK JACKET.