The Voyage of the Beagle
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
AUG QUITO.Indd
QUITO A student at work in the carpentry workshop of the Escuela Taller Quito, which was established in 1992 to teach traditional construction techniques to underprivileged youngsters HEART AND SOUL Quito’s World Heritage-listed colonial centre is the largest in the Americas. And thanks to municipal intervention and the eff orts of a school for disadvantaged children, the Ecuadorian capital’s historic heart is being revitalised. Dominic Hamilton reports rom the outside, the Escuela Taller Quito (Quito Workshop School) is deceiving. A two-storey mansion F set on one of the narrow streets in the Ecuadorian capital’s historic centre, it looks like a family home. Pass through its ornately carved doorway, however, and it’s another story. Pupils in blue overalls hurry between classrooms, criss-crossing the elegant patio in gaggles of three or four. A bell rings and a hush returns, although this, too, is deceptive. Enter one of the classrooms that ring the patio and you’re confronted with a hive of activity. The fi rst, adjacent to the entrance, is dedicated to carpentry. Inside, pupils are hard at work around half a dozen workbenches. Sketches and examples of completed works in marquetry and inlay decorate the walls. Sculptures at various stages of completion are scattered across the worktops, alongside tools of every size and function. There is a constant hum of knocking, carving, chipping, scraping and banging. The class is led by Maestro Carlos Vinicio Pazmiño, a tall, energetic man in his early 40s who passes from table to table surveying his pupils’ work. A room off to the right is quieter, bathed in studious silence. -
November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr
1967 ● September – November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr. Atl (Gerardo Murillo), Juan Manuel Blanes, Humberto Causa, Joaquín Clausell, Maurice Gallbraith Cullen, Stuart Davis, Thomas Eakins, Pedro Figari, Juan Francisco González, Childe Hassam, Saturnino Herrán, Winslow Homer, George Inness, Francisco Laso, Martín Malharro, John Marin, Vicente do Rego Monteiro, James Wilson Morrice, José Clemente Orozco, Amelia Peláez, Emilio Pettoruti, José Guadalupe Posada, Maurice Brazil Prendergast, Armando Reverón, Diego Rivera, Julio Ruelas, Albert P. Ryder , Andrés de Santa María, Eduardo Sivori , Joseph Stella, Tarsila do Amaral, Tom Thomson, Joaquín Torres-García, José María Velasco Elyseu d’Angelo Visconti Curator: Stanton Loomis Catlin ● December 1967 – January 1968 Five Latin American Artists at Work in New York Julio Alpuy , Carmen Herrera, Fernando Maza, Rudolfo Mishaan, Ricardo Yrarrázaval Curator: Stanton Loomis Catlin 1968 ● February – March Pissarro in Venezuela Fritz George Melbye, Camille Pissarro Curator: Alfredo Boulton ● March – May Beyond Geometry: An Extension of Visual-Artistic Language in Our Time Ary Brizzi, Oscar Bony, David Lamelas, Lía Maisonave, Eduardo Mac Entyre, Gabriel Messil, César Paternosto, Alejandro Puente , Rogelio Polesello, Eduardo Rodríguez, Carlos Silva, María Simón, Miguel Angel Vidal Curator: Jorge Romero Brest ● May – June Minucode 1 Marta Minujín ● September From Cézanne to Miró1 Balthus (Balthazar Klossowski de Rola), Max Beckmann, Umberto Boccioni, Pierre Bonnard, -
After the Fire at the Church of La Compañia De Jesus, Quito, Ecuador
Article: After the fire at the Church of La Compañia de Jesus, Quito, Ecuador Author(s): Constance Stromberg Source: Objects Specialty Group Postprints, Volume Six, 1999 Pages: 112-133 Compilers: Virginia Greene and Emily Kaplan th © 2000 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Six, 1999 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. AFTER THE FIRE AT THE CHURCH OF LA COMPAÑIA DE JESUS, QUITO, ECUADOR Constance Stromberg Abstract La Compañía de Jesús is a high style Baroque church built between 1605 and 1767. -
CBP Dec. 20-03]
This document is scheduled to be published in the Federal Register on 02/14/2020 and available online at https://federalregister.gov/d/2020-03118, and on govinfo.gov 9111-14 DEPARTMENT OF HOMELAND SECURITY U.S. Customs and Border Protection DEPARTMENT OF THE TREASURY 19 CFR Part 12 [CBP Dec. 20-03] RIN 1515-AE52 Import Restrictions Imposed on Archaeological and Ethnological Material from Ecuador AGENCY: U.S. Customs and Border Protection, Department of Homeland Security; Department of the Treasury. ACTION: Final rule. SUMMARY: This final rule amends the U.S. Customs and Border Protection (CBP) regulations to reflect the imposition of import restrictions on certain archaeological and ethnological material from Ecuador. These restrictions are being imposed pursuant to an agreement between the United States and Ecuador that has been entered into under the authority of the Convention on Cultural Property Implementation Act. The final rule amends CBP regulations by adding Ecuador to the list of countries which have a bilateral agreement with the United States that imposes cultural property import restrictions. The final rule also contains the designated list that describes the types of archaeological and ethnological material to which the restrictions apply. 1 DATES: Effective [INSERT DATE OF FILING FOR PUBLIC INSPECTION AT THE FEDERAL REGISTER]. FOR FURTHER INFORMATION CONTACT: For legal aspects, Lisa L. Burley, Chief, Cargo Security, Carriers and Restricted Merchandise Branch, Regulations and Rulings, Office of Trade, (202) 325-0300, [email protected]. For operational aspects, Genevieve S. Dozier, Management and Program Analyst, Commercial Targeting and Analysis Center, Trade Policy and Programs, Office of Trade, (202) 945-2942, [email protected]. -
The Indigenous Capilla De Cantuña: the Catholic Temple of The
Tulane Undergraduate Research Journal | Volume III (2021) The Indigenous Capilla de Cantuña: The Catholic Temple of The Sun Kevin Torres-Spicer Cal Poly Pomona, Pomona, California, USA ⚜ Abstract The Cantuña chapel within the St. Francis complex in Quito, Ecuador, was one of the first Catholic structures built in this region after the Spanish conquest in the sixteenth century. The chapel holds the name of its presumed native builder, Cantuña. However, a strong connection to the Incan sun deity, Inti, persists on this site. According to common belief and Spanish accounts, the Franciscan monks decided to build their religious complex on top of the palace temple of the Incan ruler, whom the natives believed to be Inti's incarnation. In this research, I examined vital components of the Capilla de Cantuña, such as the gilded altarpiece. I argue that the chapel acts as an Indigenous monument through the Cara, Inca, and Spanish conquests by preserving an aspect of native culture in a material format that transcends time. Most importantly, because the Cantuña chapel remains the least altered viceregal church in the region, it is a valuable testament to the various conquests and religious conversions of the Kingdom of Quito. Introduction wealth and discoveries back to Europe. 1 According to the Spanish Franciscans, a The Spanish conquest brought mendicant Catholic order which carried out Catholicism to the New World and took the evangelization of the Indigenous 1 Mark A. Burkholder and Lyman L. Johnson, Colonial Latin America (New York: Oxford University Press, 2001), 37-43. Newcomb-Tulane College | 36 Tulane Undergraduate Research Journal | Volume III (2021) populations of the continent, the disastrous Scholarship often overlooks the previous results of the conquest were necessary for the ethnic communities since the Inca were the salvation of Indigenous souls.2 The Capilla group in charge during the Spanish arrival. -
Loób and Kapwa Thomas Aquinas and a Filipino Virtue Ethics
KU Leuven Humanities and Social Sciences Group Institute of Philosophy LOÓB AND KAPWA THOMAS AQUINAS AND A FILIPINO VIRTUE ETHICS Jeremiah REYES Supervisors: Prof. R. Friedman Prof. R. Pe-Pua Dissertation presented in partial fulfilment of the requirements for the degree of Doctor in Philosophy September 2015 For my father and his unfailing love and support Acknowledgements I would like to thank my promotor, Prof. Russell Friedman, for his invaluable guidance and encouragement and for allowing me to pursue this topic under the auspices of the De Wulf-Mansion Centre for Medieval and Renaissance Philosophy. I would like to thank my co-promotor, Prof. Rogelia Pe-Pua, of the University of New South Wales for her careful corrections and for helping me be more grounded in the Sikolohiyang Pilipino (Filipino Psychology) movement. I thank the Katholieke Universiteit Leuven for providing the IRO Scholarship, which has generously allowed me and many others like me from developing countries to pursue an enriching and life-changing education in Europe. I would like to thank Mr. Edmundo Guzman of the International Admissions and Mobility unit for his assistance since the beginning of my program. I thank retired professor James Op ‘t Eynde for patiently teaching me Latin. I would like to thank all my mentors and colleagues in the University of the Philippines, Diliman. I especially thank those who have each contributed something special to my philosophical education: Prof. Ciriaco Sayson, Prof. Liza Ruth Ocampo, Prof. Earl Stanley Fronda, Prof. Leonardo de Castro, and Prof. Allen Alvarez. From the Ateneo de Manila University, I would like thank Prof. -
Instruments of Expression: Quito’S Creole Elite and Eighteenth-Century Nativity Scenes
INSTRUMENTS OF EXPRESSION: QUITO’S CREOLE ELITE AND EIGHTEENTH-CENTURY NATIVITY SCENES By LESLIE E. TODD A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2013 1 © 2013 Leslie E. Todd 2 Dedicated to my mother and father 3 ACKNOWLEDGMENTS I would like to extend my sincerest gratitude to the chair of my committee Dr. Maya Stanfield-Mazzi for her gentle, encouraging, and accommodating guidance and mentorship. Her suggestions challenged my analysis and always pointed me back to a deeper reading of the sculptures, ultimately guiding me toward a more multifaceted and dynamic argument. I would also like to thank Dr. Melissa Hyde not only for her valuable input as a member of my committee, but also for introducing me to the intriguing world of Rococo in her fall 2011 “Rococo Echoes” graduate seminar. My gratitude also extends to Dr. Ida Altman, my third committee member, for her unique perspective and feedback as a historian of Ibero-America. Finally, I am deeply grateful to my friends and family, especially my mother and father, who have lent me their constant encouragement and loving support throughout my graduate career. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT .....................................................................................................................................7 CHAPTER 1 -
Time Is a Construct(Ion): Heritage and Becoming in Quito's Historic District
Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 Time is a Construct(ion): Heritage and Becoming in Quito's Historic District Samuel Abate Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Anthropology Commons, Historic Preservation and Conservation Commons, Latin American Languages and Societies Commons, Latin American Studies Commons, and the Museum Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Abate, Samuel, "Time is a Construct(ion): Heritage and Becoming in Quito's Historic District" (2020). Senior Projects Spring 2020. 156. https://digitalcommons.bard.edu/senproj_s2020/156 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Time is a Construct(ion): Heritage and Becoming in Quito's Historic District Senior Project Submitted to The Division of Social Studies of Bard College by Samuel Abate Annandale-on-Hudson, New York May 2020 ACKNOWLEDGEMENTS Duff, I do not have words to explain how grateful I am for you. You tirelessly gave me support throughout every step of this process and I respect you so deeply for the dedication you show in all aspects of your life. -
Picturing the River's Racial Ecologies in Colonial Panamá
arts Article Picturing the River’s Racial Ecologies in Colonial Panamá Bart Pushaw Department of Arts and Cultural Studies, University of Copenhagen, S-2300 Copenhagen, Denmark; [email protected] Abstract: This article explores the local histories and ecological knowledge embedded within a Spanish print of enslaved, Afro-descendant boatmen charting a wooden vessel up the Chagres River across the Isthmus of Panamá. Produced for a 1748 travelogue by the Spanish scientists Antonio de Ulloa and Jorge Juan, the image reflects a preoccupation with tropical ecologies, where enslaved persons are incidental. Drawing from recent scholarship by Marixa Lasso, Tiffany Lethabo King, Katherine McKittrick, and Kevin Dawson, I argue that the image makes visible how enslaved and free Afro-descendants developed a distinct cosmopolitan culture connected to intimate ecological knowledge of the river. By focusing critical attention away from the print’s Spanish manufacture to the racial ecologies of the Chagres, I aim to restore art historical visibility to eighteenth-century Panamá and Central America, a region routinely excised from studies of colonial Latin American art. Keywords: Panamá; print; art; colonial; blackness; ecocriticism; enslavement; Central America 1. Introduction A boat ascends a coursing river (Figure1). Fourteen oarsmen paddle against the force of the river’s downward stream towards a range of mountains. Despite the river’s Citation: Pushaw, Bart. 2021. coursing speed, flocks of birds have settled at the water’s edge. Swans and herons wade Picturing the River’s Racial Ecologies in cool waters as an iguana scuttles across the surface. Two-headed snakes slither along in Colonial Panamá. Arts 10: 22. -
Public Summary of the Request
On March 4, 2018, the U.S. Department of State published notification in the Federal Register of the receipt of a request from the Government of the Republic of Ecuador to the Government of the United States of America for import restrictions on archaeological and ethnological material from Ecuador representing its pre-Columbian through Republic period heritage. This request is submitted pursuant to Article 9 of the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property as implemented by the Convention on Cultural Property Implementation Act (“CPIA,” 19 U.S.C. 2601 et seq.). Accompanying its request, the Government of Ecuador provided a written statement of the facts known to Ecuador that relate to the determinations that must be made to enter into an agreement pursuant to the CPIA (19 U.S.C. § 2602(a)(1)). This statement included a brief history of the pre-Columbian, Colonial, and Republic periods in Ecuador; evidence of pillage of and jeopardy to Ecuador’s archaeological and ethnological materials; measures Ecuador has taken consistent with the 1970 UNESCO Convention to mitigate the problem of pillage; analysis of the nature and extent of the U.S. and international market for Ecuadorian cultural property; and a description of the benefits that import restrictions might confer. The following public summary is derived from that request. It does not necessarily represent the position of the Government of the United States on this matter. * * * PUBLIC SUMMARY -
Latin America & Antarctica 2017
LATIN AMERICA & ANTARCTICA 2017 SOUTH AMERICA • MEXICO • CUBA • CENTRAL AMERICA • ANTARCTICA CONTENTS SOUTH AMERICAN DREAM 8-9 Argentina, Brazil, Peru, Bolivia, Chile DISCOVER SOUTH AMERICA 10-11 Peru, Brazil, Argentina, Chile SOUTH AMERICAN EXPLORER 12-13 Ecuador, Peru, Bolivia, Chile, Argentina PERU 14-23 BOLIVIA 24-25 ECUADOR 26-35 GALAPAGOS 32-35 CHILE 36-39 ARGENTINA 40-42 URUGUAY 43 PATAGONIA 44-51 ANTARCTICA 52-55 BRAZIL 56-61 COLOMBIA 62-63 VENEZUELA & PARAGUAY 64 GUYANA & SURINAME 65 MEXICO 66-75 DISCOVER MEXICO & CUBA 68-69 Mexico, Cuba CUBA 76-79 CENTRAL AMERICA 80-91 MUNDO MAYA 82-83 Mexico, Guatemala, Belize CENTRAL AMERICAN EXPLORER 84-85 Panama, Costa Rica, Nicaragua TERMS & CONDITIONS 93 Cocora Valley, Coffee Region, Colombia Our World Copper Canyon Gulf of Mexico Havana MEXICO CUBA Guadalajara Cancun Mexico City Oaxaca BELIZE GUATEMALA HONDURAS Caribbean Sea EL SALVADOR NICARAGUA Santa Marta COSTA RICA Caracas Cartagena PANAMA VENEZUELA Medellin GUYANA Bogota SURINAME Pereira Angel Falls FRENCH Fernando de GUIANA Noronha COLOMBIA ECUADOR Fernando de Quito Coca Equator Noronha Galapagos Islands Guayaquil Devil’s Nose Manaus Belem Iquitos Fortaleza Rio Amazonas Chachapoyas Chiclayo Kuelap Natal Trujillo PERU Recife Machu BRAZIL Picchu Puerto Maldonado Lima Cuzco Salvador Nazca Puno BOLIVIA (Bahia) Lake Titicac a Brasilia Arequipa La Paz Sucre Pantanal Potosi Belo Horizonte Uyuni Salar Campo Grande Calama San Pedro de Atacama PARAGUAY Paraty Asuncion Rio de Janeiro Salta Iguazu Ibera Falls Easter Island CHILE Marshlands Pacific -
Revealing the African Presence in Renaissance Europe Revealing the African Presence in Renaissance Europe
12.1mm 203mm revealing the african presence in renaissance europe presencerevealing the african in renaissance the walters art museum art the walters revealing the african presence in renaissance europe revealing the african presence in renaissance europe Revealing The Presence African Renaissance Europe edited by Joaneath Spicer contributions by Natalie Zemon Davis Kate Lowe Joaneath Spicer RevealingBen Vinson III revealing the african presence The Presencein renaissanceAfrican europe Renaissance the Europewalters art museum This publication has been generously supported by the Robert H. and Clarice Smith Publication Fund Published by the Walters Art Museum, Baltimore All rights reserved. © 2012 Trustees of the Walters Art Gallery No part of the contents of this book may be reproduced, Third printing, 2013 stored in a retrieval system, or transmitted in any form or by any means, including photocopy, recording, or other information and retrieval systems without the written permission of the Trustees of the Walters Art Gallery. This publication accompanies the exhibition Revealing All dimensions are in centimeters; height precedes width the African Presence in Renaissance Europe, held at the precedes depth unless otherwise indicated. Walters Art Museum from October 14, 2012, to January 21, The Walters Art Museum 2013, and at the Princeton University Art Museum from 600 North Charles Street February 16 to June 9, 2013. Baltimore, Maryland 21201 This exhibition is supported by a grant from the National thewalters.org Endowment for the Humanities and by an indemnity Produced by Marquand Books, Seattle from the Federal Council on the Arts and Humanities. marquand.com Library of Congress Cataloging-in-Publication Data Designed and typeset by Susan E.