HA254 FINAL

Favelas (brazil)

-slums -not a natural creation -a product of colonialism -many modernists: privileged, oblivious/ambivalent to peoples' realities

Rosary Church/Church of Santo Domingo Puebla, Mexico Spanish Colonial Mid 17th century

-"jewel box" for the cult image -gilded and polychrome sculpture -other worldly, mysterious, visionary, dream-like experience -blurring boundaries between human life and divine (enhanced with hallucinogens) -baroque - "the most Mexican art style; the spirit of the people in their search for identity"

Buon Fresco (graphic arts)

-"true" of wet fresco technique -ex. Detroit Industry Murals at the DIA (Diego Rivera, mid-20th century)

Anthropophagy Tarsila do Amaral Brazilian Early 20th century

-Anthropophagite Manifesto -devouring/confronting the colonizer -appropriating colonizer's virtues and power -rediscover of brazil's colonial past and popular culture, after having ignored and negated it

The Conquest of Mexico and View of Mexico City Spanish Colonial Late 17th century

-Biombo -"asian-inspired" designs and works of art; lacquer and floral designs -secular subjects -Mexico City - picturesque island, mountain in background, causeways and lake -devoid of people, carefully organized city grid -one point perspective, Spanish elite space -Baroque

Anthropophagite Manifesto (brazil)

-Devouring/confronting the colonizer -appropriating colonizer's virtues and power -rediscovery of Brazil's colonial past and popular culture, after having ignored and negated it -essentialized figures -primal, nude-first beings, origins -nurturing mother/female earth deities -patterns, bold colors, planar figures, flatness -subjects expressive of Brazilian heritage/nation -restricting Indigenous/African identities to Primitivist ideals -ex. Anthropophagy (Tarsila do Amaral, mid-20th century)

Self Portrait Juan Manuel Figueroa Azar Peruvian Early 20th century

-New Indian (bohemian) identity - rural, folk, sentimental, nostalgic, close ties with land -largely ambivalent to social/political reform -affirming mestizo identity, unique from Europe -backdrop with colonial archway and Andean altar -photography, creating a theatrical space for performing/playing with identities

Plan of the Principal Plaza of Mexico City Spanish Colonial Late 16th century

-No homes -Cathedral, slight off-center, on elevated ground -north side

Indigenismo (Peru)

-roots in mid-19th century -literary and artistic movement -praising native values -ex. The Indian Potter (Francisco Laso, mid-19th century) - created individualized figures, but unnamed (a type)

Indian Mayor of Chincheros: Varayac José Sabogal Peruvian Early 20th century

-Sabogal - a dominant figure in 20s/30s Peruvian art -contributed to Amauta -1920s -peasant uprisings -Sabogal and Indigenismo - protest against visions of Peruvian people and land as a spectacle (costumbristas) -revere for the past," Inca-ism" as model/icon for Peruvian identity -varayac - Indian leader, man with authority - connect to land problems of 1920s; standing before a real Andes landscape and village, not a blank wall or ancient Inca times (Laso)

Biombo (baroque)

-Secular Painting -hispanization of the Japanese byobu "protection from wind" -painted folding screens -a luxury item and practical space divider -baroque splendor: gilded frames, stage set appearance, complex narratives and themes -oriental exoticism -ex. Las Artes Liberales/The Liberal Arts (Juan Correa, late 17th century)

Neoclassical Style (late baroque)

-Symmetry, simplicity, restraint -themes, settings, wardrobes from Rome/Greece -touching on ideal qualities of characters -more balances compositions -sweet, tender, harmonious -pinks and blues in palette -figures all touching -even lighting -a return to Renaissance style and Classical antiquity -ex. The Divine Shepherdess (Miguel Cabrera, mid-18th century)

The Jungle Wildredo Lam Cuban Mid 20th century

-a celebration of African heritage, and a rejection of exploitation by colonizers (Spain and US) -polymorphism: human, plant (sugar cane), animal forms united -inspiration from African masks and Santeria, an Afro-Cuban religion that mixes African beliefs and customs with Catholicism -fragmented forms, flat space, distorted creatures with prominent buttocks and genitals; anger at degradation of women, mulattas who had turned to prostitution

The Enlightenment (late Baroque)

-a new way of thinking independent of religion, myth, tradition, or emotion -intellectual, industrial, and scientific revolution -light of knowledge, not spiritual effect -ex. Three Persons Viewing the Gladiator by Candlelight (Joseph Wright of Derby, mid 18th century)

Retablo (urbanism and Baroque)

-altarscreens -Renaissance style -twisted nature, lighter, vegetal decor, further denying structural stability -ex. Altar of Church of Huejotzingo (late 16th century)

The Transculturation of the Puerto Rican Carlos Irizarry Puerto Rican Late 20th century

-appropriation: as a pop art strategy; challenging aura of the unique art object -social protest art

Cubism (graphic arts)

-avant-garde style -anti-illusionistic and anti-naturalistic -pictures about forms and shapes -ex. Gertrude Stein (Picasso, early 20th century)

Corridos (graphic arts)

-ballads through poem or song -some celebrating anti-government heroes -ex. Ballad of Macario Romero (Posada, late 19th century)

Varietas (urbanism)

-bodies placed in complex positions -a variety of positions -ex. The Holy Family (De Concha, late 16th century)

Expressionism (brazil)

-boldly simplified or distorted forms and exaggerated, sometimes clashing colors -desire to startle the viewer -post WWI: less utopic themes related to technology, urbanism, modernization -rough/sketchy style -Brazilian folk art woodcuts -ex. Street Fight (Oswaldo Goeldi, early 20th century)

Altarpiece of the Virgin of Guadalupe with Saint John the Baptist, Fray Juan de Zumárraga and Juan Diego Miguel Cabrera Mexican Mid 18th century

-codified nature of her presentation: eyes closed, head bowed; hands clasped to show piety; blue cloak with golden stars; stands on crescent moon and partially supported by winged seraph (holy being); surrounded by mendorla (oval-shaped light) -late baroque

Moça Roubada Jose Francisco Borges Brazilian Early 20th century

-cordel print -flat planes, spaces; essentialized figures, those parts only necessary for the story -subjects: Brazilian folklore, politics, culture heroes, daily life xilogravuras (woodcuts)

Self-Portrait on the Borderline Frida Kahlo Mexican Early 20th century

-dreamscapes - a means of articulating Mexican cultural identity to challenge the western colonial order of things -personal tragedy is colonial tragedy of Mexico

Tenebrism (baroque)

-shadows -divine light on two martyr boys; almost real, mostly ideal -use of focused light in deep, dark shadows -more dramatic than chiaroscuro -ex. Doubting Thomas (Sebastián López de Arteagaga, mid 17th century)

China Poblana (Academies)

-emblematic of Mexican feminine beauty, charm and passion -derives from the Quechua word for servant, while poblana refers to a woman from the pueblo, or village -the term in the 19th century was generally meant to connote a mestiza who was from the provinces and wore a traditional, colorful costume -typically features: black hair, small waist, dainty feet, seductive curves, full skirt, a rebozo, or shawl -ex. China Poblana (Edouard Pingret, mid 19th century)

St. Cecilia Andrés de Concha Spanish Colonial Late 16th century

-eye as compass for direction -artistic self-expression -aspire beyond the rules -mannerist -style - symbol of Creole Identity

China Poblana José Agustín Arrieta Mexican Mid 19th century

-focus on anxiety in 19th century Mexico related to collapse of economy -good girls, morally upright -didactic: inform society of proper behavior -appeal for plight of women in challenging times -representative types, defining what is means to be Mexican

Good Reputation Sleeping Manuel Álvarez Bravo Mexican Early 20th century

-focus on the simultaneous existence of past/present, life/death (dualities), folklore/fable: cactus pieces, good reputation -combination figure of Virgin and Coatlicue (Aztec goddess): both conceived son without intercourse -Breton/Surrealist concerns: female figure, erotic subtext, altered state of consciousness, ambiguous environment, danger/violence

Church of Huejotzingo Altarscreen Puebla, Mexico Spanish Colonial Late 16th century

-gilded wood frame -hierarchy of subject matter - codified practice of christianity: predella (bottom) - the apostles; next higher level - the doctors of the church (Augustine, Jerome, Androse, etc.); next level - preaching saints and founders of the orders (Anthony, Jerome, St. Bernard, etc.); next level - local martyrs, or martyr Saints (Lawrence, St. Sebastian, etc.); top - those closest to God (Christ, St. John the Baptist, etc.); attic - God -Expensive -creole status symbols

Zapatista Victor Casasola Mexican Early 20th century

-iconography of self-determination -Zapatista means followers of Zapata, peasant soldiers -ammunition as tools, not plows

Foto-óleo (Peru)

-idealising subjects via added color, backdrops, special effects -out of style by 1920s

Indoamérica Joaquín Torres García Uruguay Early 20th century

-inspiration from geometric pre-incan drawings/designs -unify shared characteristics of dual heritages, past and present -look to the past, not the unconscious

Malinche (surrealism)

-interpreter, lover, advisor to Cortes -symbolic mother of mestizaje -ex. Malinche's Dream (Antonio Ruis, mid-20th century)

The Valley of Mexico from the Santa Isabel Mountain Range José María Velasco Mexican Late 19th century

-landscape painting -an immersive visual experience, a "sublime" landscape -miniscule figures amidst grandeur of nature - integration of pre-Hispanic symbols into nationalist expression -volcanic peaks Popocatepetl and Iztacchihuatl, receding waters of Lake Texcoco: physical references that evoke memory of Tenochtitlan -telling story of nation's evolution; integrating indigenous and colonial experience -romantic landscape qualities: pastoral setting (idyllic rural space); rural mexicans in transit from the city to the country

Portrait of Bolívar in Bogotá José Gil de Castro Peruvian Mid 19th century

-neoclassicism used to address nationalist themes and present Latin American military heroes -Simon Bolivar: creole aristocrat who led successful independence campaigns in Latin Americas "El Libertador" -depicted with darker skin to call attention to unique Latin American character -globe: wordliness and allusion to legacy in Latin America

Native Village in Cantagalo Jean Baptiste Debret French Early 19th century

-noble savage: a primary ("pure") state of human civilization, living in close relationship with nature -a contrast to modern European society

Portrait of Sor Juana Inés de la Cruz Miguel Cabrera Mexican Mid 18th century

-nun portrait: symbols of greatness of Criollo identity; considered first feminist of the Americas -nun's badge: often painted on copper or shell; a reminder of vows of chastity ("sin shields") -nuns in portraits: passive and pious -Sor Juana: active gaze; surrounded by books and other instruments of learning/writing and religious status -late baroque

Calaveras (graphic arts)

-skeletons in modern dress caricatures of political figures -truth stood on the calavera's side -exposed governments lies -vehicle for telling stories to the masses -sold by street vendors in markets and at festivals -themes of love and romance -ex. The Thundering Skeleton of the Modern Bells (José Posada, early 20th century)

La Familia Obrera (The Working Class Family) Oscar Bony Argentinian Mid 20th century

-political art, engaged with political and social realities amidst political dictatorship -Latin American conceptual art - the idea/message is more important than creating an object under repressive regimes -La Familia: highlighting low wages of working class -featured in an exhibit that closed down after police censorship; artists took work out into streets and destroyed everything

Lithography (graphic arts)

-printing process on stone, image etched onto stone with acid -arrived in Mexico in 1826; becomes part of Academy of San Carlos curriculum in 1831 -cheaper and more efficient process than etching or engraving on metal or wood plates, allows for thousands of copies of an image to be made without the plate wearing out first -catalyst for social and political satire journals influenced by French stereotypes -document injustice and incite moral outrage -ex. Freedom of the Press: Don't Meddle With It (Honoré Daumier, mid 19th century)

Ballas of Macario Romero José Guadalupe Posada Mexican Late 19th century

-relief etching -illustrated corridos

De Español y de India Miguel Cabrera Mexican Mid 18th century

-some casta paintings commissioned by viceroys to educate Euros on New Spain's diversity -probably Criollos commissioned some; reflect racial anxiety of the era -categorizing races seemed to reinforce a social order of privilege -reality-race categories were confusing and ambiguous -late baroque

Costumbrista Paintings (Academies)

-sought to capture the customs, costumes and traditions of everyday people and everyday life -enlightenment ideas: document, categorize, and examine people (ex. castas) -manifested itself both in Spain and Latin America, in late 18th and early 19th century visual and literary arts -ex. La China (Hesiquio Iriarte, mid 19th century)

The Legend of Quetzalcoatl Diego Rivera Mexican Mid 20th century

-stairway murals: the legend of Quetzalcoatl, pyramids of Sun and Moon at Teotihuacan -Quetzalcoatl, the Aztec god of wind and wisdom -drawing inspiration from Mexico's indigenous/mestizaje heritage -a headdress of quetzal feathers and a conch on his chest, a symbol of wind god; he carries a curved baton (the scepter of the seven stars or constellations -Quetzalcoatl appears in human form (blond and white) and as a serpent and the morning star Tlahuizcalpantecuhtli

Literatura de Cordel (brazil)

-string architecture -small, paper-covered booklets, usually printed on a single sheet folded into books of 8, 12, 16 and 24 pages usually illustrated -woodblock prints -sold in markets, hung on strings

Baroque

-style of art -emphasizes sculptural qualities of the building -mexican baroque - specific to a place and period; ideal beauty, virgin; strong lighting against darkened background -ex. Rosary Chapel (mid-17th century)

Mannerism (urbanism)

-stylish, elegant manner -twisting figures and compositions -imbalanced compositions -not rational -expression of deep emotions -Mexican - elongated figures, cut off dramatic light; emotionally engaging; inspire devotion, piety; dark skies open (presence of God); didactic purpose -ex. St. Cecilia (Andrés de Concha, late 16th century)

Doubting Thomas Sebastián López de Arteaga Spanish Colonial Mid 17th century

-tenebrism -mexicans reject realism in religious art -ideal, beautiful figures -divine -baroque

La Calavera Garbanceras (graphic arts)

-the elegant skull -satirical portrait of Mexican creole/aristocratic class -describes a person who was ashamed of their indigenous origins and dressed imitating the French stile while wearing lots of makeup to make their skin look whiter