Colonial Latin American Art- Mexico and Peru

Uma revisão das proposições do crítico uruguaio Ángel Rama sobre a "cidade letrada" e a "transculturação", ponderando a primeira com os desdobramentos da segunda, no que toca ao fenômeno do barroco latino-americano. Essa análise é implicitamente projetada, então, sobre um debate contemporâneo em torno da suficiência analítica da categoria "identidade".

During the course of the centuries, memories of the Conquest have been shaped by various political projects, starting with those of the persons responsible for establishing a new colonial society. This article explores how inhabitants of New Spain mediated through texts, images and artifacts their own memories of the events between 1519-21 to legitimize their demands for rewards or a privileged social status. It argues that distributive struggles shaped the practices of memorialization with which the past was brought into the present and in the service of the future, as well as the interactions between a textual and material world that shaped the memories of the Conquest.

Abstract
COLONIAL ART OF LATIN AMERICA AND THE POLISH RESEARCHERS – A REVIEW OF LITERATURE
Colonial art of Latin America has long attracted interest of Polish art historians and art theoreticians. However, despite fascination with exotic forms and aesthetics, this problem rarely appeared in twentiethcentury studies, mainly due to limitations of research and travel opportunities. Among those interested in colonial art were such famous researchers as Władysław Tatarkiewicz, Zbigniew Hornung or Jan Białostocki. References to the Latin American Baroque were also made in a three-volume work by Mieczysław Porębski and Ksawery Piwocki titled History of art in outline. Th e list ends with the item published in 1994. Th is is
a chapter devised by Przemysław Trzeciak entitled Modern Latin American Architecture. which is a part of the seventh volume of the series World Art. Among the mentioned works, those which deserve more detailed discussion are works by Jan Białostocki, who was the author of the most extensive texts on colonial art. He was also a valued researcher on the other side of the ocean, and his studies, especially those in the fi eld of iconography, infl uenced the elaborations on colonial art and the art of modern Latin America.

Penhos, Marta, "Pintura de la región andina: algunas reflexiones en torno a la vida de las formas y sus significados", en Gutiérrez Haces, Juana (coord.), Pintura de los Reinos. Identidades Compartidas. Territorios del Mundo Hispánico, siglos XVI-XVIII, México, Fomento Cultural Banamex, 2009. Tomo III, pp. 821-877. ISBN Tomo III 978-607-7612-32-2

From: Las artes en Quito en el cambio del siglo XVII al XVIII (Quito: FONSAL, 2009), pp. 11-25.
Traces the history of architect José Jaime Ortiz through archival sources from his birth in Alicante, Spain, through his work in San Juan, Puerto Rico, to the culmination of his career in Quito.

As an early modern enterprise, the Society of Jesus established networks that relayed in formation from far-flung missionaries back to superiors in metropolitan centers. At the same time, Jesuits linked to colleagues serving in other locales by sharing letters, maps, and devotional objects that helped forge a worldwide, imagined community. Through these informal means, Jesuits in New Spain developed particularly strong ties to Asia as the colonization of the Philippines and establishment of the Manila Galleons turned their viceroyalty into a transpacific contact zone. Beginning with a sixteenth-century debate over forceful conversion, this chapter traces confrontations and comparisons engendered by this communication. It tracks religious devotion to Japanese martyrs in the Americas to better understand the function of hagiography in colonial contexts. Martyrs also fac tored into transpacific competition and cooperation, leading Jesuits in Mexico, China, and Spain to connect their personal sacrifices to the larger effort to convert the Pacific. A Trans-Pacific Network AS an early modern global enterprise, the Society of Jesus famously established networks that relayed information vertically from far-flung missionaries up to superiors in metro politan centers. At the same time, Jesuits linked horizontally to colleagues serving in oth er continents by sharing letters, histories, maps, and devotional objects that helped forge a worldwide imagined community. Through these less formal means, missionaries in New Spain and Asia developed particularly strong ties, reinforced by a shared history of colo nization, trade, and inevitable competition for resources. Accounts focused on direct rela tions between discrete peripheries and hierarchical centers have sometimes missed the extent to which intercolonial communication influenced historical developments across fields. Yet the viceroyalty of New Spain was a trans-oceanic contact zone for European, Asian, and indigenous cultures, in which Jesuit networks gathered information, fostered

Une présentation de l'imaginaire colonial resterait incomplète si nous omettions les images qu'il a produites : la peinture et la sculpture du XV e , XVII e et XVIII e siècles constituent un autre versant du monde diurne que nous avons identifié dans des textes.

Dado que los Festivales del Barroco Latinoamericano que iniciaron en el año 2014 con apoyo del Proyecto Mesurabilis y de numerosas instituciones civiles y religiosas, han tenido entre sus múltiples fines dar a conocer el Arte Cusqueño elaborado durante la época virreinal, en el 4° Festival que se celebró en septiembre de 2017 se dedicó un espacio a hablar de una serie de lienzos magnífica que pertenece al templo de Santo Domingo. A los organizadores de dicho Festival y a las autoridades del templo de Santo Domingo de Cusco les agradecemos el interés y el apoyo que nos prestaron para poder difundir, entre el público en general, a través de esta breve publicación, una pequeña parte de su riquísimo patrimonio.

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.

Democrito “Bernardo” Bitti, who joined the Society of Jesus in 1568, is considered one of the great Italian masters who were a stylistic influence on the first generation of Peruvian artists. His life and work in Italy and Peru have been studied by the author as part of her master thesis, recently defended at the University of Turin. The article presents for the first time the results of this investigation, as well as new documental discoveries on Bitti retrieved in Italian archives (ARSI and Camerino), focusing mainly on his youth and family. These materials allow to reconstruct his life before the arrival to Peru, and to propose new hypothesis on his artistic training in the Marche region. The analysis of Bitti’s South American catalogue, including the most recent discoveries, shows his relevance as a missionary in Peru, where his art served to illustrate the jesuit evangelical effort.

In English and Spanish. Catalog from the exhibition "Andrés Sánchez Gallque y los primeros pintores en la Audiencia de Quito" held at the Museo de Arte Colonial in Quito, Ecuador (2014). This is the galley proof. The footnotes for my article are unfortunately off by one number.
Catálogo de la exposición celebrada en el Museo de Arte Colonial en Quito, Ecuador (2014). Este es el machote. Lamentablemente, las notas al píe de página de mi artículo están corridas por un número.

Resumen. A lo largo de este trabajo nos ocuparemos de un conjunto de imágenes religiosas, crónicas y relaciones de puestas en escena para indagar en dos de los modos en que fue representada la figura del musulmán en los Andes: como vencido y como infiel. El análisis de algunos casos relevantes en línea con estas dos concepciones nos abrirá la posibilidad de avanzar sobre las herencias y la resignificación local de un conjunto de recursos visuales y literarios. Atados a sentidos precisos en la tradición europea, aquellos recursos resultaron eficaces para atender distintas necesidades de legitimación discursiva y de prédica en el escenario del Virreinato peruano. Palabras clave: musulmanes; enemigo de la fe; Virreinato del Perú; monarquía Habsburgo; representaciones visuales y escritas.
[en] Defeated and Infidel. Two Approaches to the representation of the Muslim in the Viceroyalty of Peru Abstract. This paper focus on a set of religious images, chronicles and staging relations to research two of the ways in which Muslims were represented in the Andes: as defeated and as infidels. Analyzing some relevant cases in line with both conceptions advances our understandings of the local heritage and resignification of a set of visual and literary resources. Tied to precise senses in the European tradition, those resourses were effective to serve discursive legitimation and preach purposes in the the Peruvian Viceroyalty scenario.

El presente estudio recoge cerca de trescientas obras que representan temas y personajes del Antiguo Testamento, elaboradas en el Virreinato peruano o que llegaron a él. El tema resulta, sin lugar a dudas, muy novedoso y presenta un análisis detallado de las piezas.

‘Arte Plumario’ es un concepto desarrollado para abordar el análisis de una serie de objetos elaborados con plumas por la población nativa de América. Este artículo se propone como punto de partida el replanteamiento del enfoque desde el cual se aborda el ‘Arte Plumario’, que dé cuenta de las múltiples dimensiones de significado presentes en el mismo. De este modo, se consideran incompletas las lecturas que encuentran en el ‘Arte Plumario’ sólo manifestaciones iconográficas que se remontan a tradiciones europeas. Partiendo del estudio de La Misa de San Gregorio, Virreinato de la Nueva España, se busca llamar la atención sobre la polisemia de estas imágenes. Se hace énfasis en la necesidad de explorar nuevos caminos de lectura que permitan la aproximación a las significaciones indígenas, que a menudo han pasado desapercibidas. En esta dirección, se propone tomar en cuenta aspectos como las técnicas de confección y los tipos de plumas que se utilizan, junto con los colores, las formas y los motivos ‘iconográficos’ presentes en la imagen. Se cuestiona la división entre contenido y forma, para recordar que son imágenes elaboradas con plumas, elemento de significación que no se debe eludir.

Introducción El suicidio es uno de los temas más recurrentes en la literatura. La jerónima Sor Jua-na Inés de la Cruz (1648-1695) lo aborda en varios sonetos: Engrandece el hecho de Lucrecia (153), Nueva alabanza al hecho mismo (154), Contrapone el amor al fuego material, y quiere achacar remisiones a éste, con ocasión de contar el suceso de Porcia (156) y Refiere con ajuste, y envidia sin él, la tragedia de Píramo y Tisbe (157). 1 En estos sonetos, el tratamiento del suicidio depende de los siguientes personajes: en los primeros dos, es una lectura del ultraje y el posterior suicidio de Lucrecia, hija del senador Espurio Triciptino y esposa de Lucio Tarquinio Colatino; el siguiente al de Porcia, esposa de Marco Junio Bruto (uno de los homicidas de Julio César);  y el último a los de Píramo y Tisbe, consecuencias de un malentendido.

Esta investigación analiza una serie de producciones artísticas desarrolladas en el territorio mexicano en las que se descubre el conocimiento del arte y la cultura material japoneses por parte de sus artífices: pintura a la tinta, biombos de estilo Kanô y lacas. Estas producciones debieron circular al menos en los mercados de la capital, pues los artistas novohispanos demuestran tener conocimiento de ello.

In 1590, Domingo de Salazar, the first Bishop of Manila, wrote to Philip II about the skillful ivory carving of the local Chinese immigrant population, claiming: “with their ability to replicate those images that come from Spain, I understand that it should not be long when even those made in Flanders will not be missed.” Centered on objects – figural ivory sculptures made in the Philippines in the seventeenth century – this essay locates and reanimates the interlocking routes and relations of exchange embodied in the production, patronage and export of these ivories, placing new emphasis on the artistic ingenuity, material and commercial innovations of these sculptures.  Tracing the multiple geographic trajectories embedded within Hispano-Philippine ivories also exposes key methodological issues in the study of early modern global mobility.

This essay studies the textual and visual representation of “the Indians of Peru” and their place in the illustrated edition of the Historia natural y moral de las Indias (1590) by José de Acosta, prepared by the sons of publisher Theodore de Bry. Such edition was published in 1601-1602 as the ninth volume of The Great Voyages. This essay discusses the criteria used by the De Brys to select the work of Acosta and its redesign through the elaboration of engravings to illustrate it. The detailed analysis of engraving IV allows observing the mimicry of the eyewitness’
experience that provides alternative images of the inhabitants of the Andes. This study reveals how different ways to look at the “Indians of Peru” may overlap or contradict each other. The De Brys had editorial success thanks to their iconography view of the New World, which mimicked and made changes to the direct experience of the eyewitness.