DOCSLIB.ORG

Reading Paintings: the Inscriptions in the Painted in Mexico, 1700-1790: Pinxit Mexici Exhibition Analyzed Through the Lens of Mieczysław Wallis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reading Paintings: the Inscriptions in the Painted in Mexico, 1700-1790: Pinxit Mexici Exhibition Analyzed Through the Lens of Mieczysław Wallis READING PAINTINGS: THE INSCRIPTIONS IN THE PAINTED IN MEXICO, 1700-1790: PINXIT MEXICI EXHIBITION ANALYZED THROUGH THE LENS OF MIECZYSŁAW WALLIS Item Type text; Electronic Thesis Authors Hormel, Ana Lucia Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 17:17:02 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/637055 READING PAINTINGS: THE INSCRIPTIONS IN THE PAINTED IN MEXICO, 1700-1790: PINXIT MEXICI EXHIBITION ANALYZED THROUGH THE LENS OF MIECZYSŁAW WALLIS By ANA LUCIA HORMEL ____________________ A Thesis SubmitteD to The Honors College In Partial Fulfillment of the Bachelor’s Degree With Honors in Art History THE UNIVERSITY OF ARIZONA A U G U S T 2 0 1 9 ApproveD by: ____________________________ Dr. Stacie WiDDifielD Department of Art History Contents Abstract ............................................................................................................................................................... 1 Acknowledgements .............................................................................................................................................. 2 1. Introduction .................................................................................................................................................... 3 1.1 Description of Exhibition ................................................................................................................................... 3 1.2 Significance of Inscriptions in Paintings ............................................................................................................ 4 1.3 On Eighteenth-Century Mexico .......................................................................................................................... 6 1.3.1 Historical Background ................................................................................................................................ 6 1.3.2 Style and Influences ................................................................................................................................... 7 1.4 Thesis Structure .................................................................................................................................................. 8 2. Inscriptions in Paintings .................................................................................................................................. 8 2.1 Wallis’ Typology ................................................................................................................................................ 8 2.2 Historical Uses of Inscriptions in Paintings .................................................................................................... 12 3. Research Design ............................................................................................................................................ 15 3.1 Research Question Revisited ............................................................................................................................ 15 3.2 Materials and Methodological Overview ......................................................................................................... 15 4. Research Findings and Analysis .................................................................................................................... 16 4.1 Overview .......................................................................................................................................................... 16 4.2 Categories ........................................................................................................................................................ 17 4.3 Outliers ............................................................................................................................................................ 31 5. Research Conclusions .................................................................................................................................... 33 5.1 Reoccurring Themes ......................................................................................................................................... 33 5.1.2 Conclusion #1 ........................................................................................................................................... 33 5.1.3 Conclusion #2 ........................................................................................................................................... 33 5.1.4 Conclusion #3 ........................................................................................................................................... 34 5.2 Research LiMitations and RecomMendations ................................................................................................... 34 5.3 Future Research ............................................................................................................................................... 35 Appendix ........................................................................................................................................................... 36 Bibliography ..................................................................................................................................................... 60 1 Abstract The acclaimed 2017-2018 Painted in Mexico, 1700-1790: Pinxit Mexici Exhibition and its corresponding catalogue reintroduced the world to the paintings of eighteenth-century Mexico. Presented alongside each other, the over one hundred paintings in the collection are frequently distinguished by one element: text. This paper takes into account this unique element and examines the applicability of the typology outlined by art historian Mieczsław Wallis in “Inscriptions in Paintings,” a seminal article on the topic of painting inscriptions. Wallis defines four categories of painting inscription based on function: identification, statement, invocation, and artist statement. Analysis of the 95 inscribed paintings in the catalogue reveals that over 52% of inscriptions functioned as forms of identification, over 8% functioned as statements, over 2% functioned as invocations, and over 35% functioned as artist statements. Three conclusions can be drawn from this research: first, Wallis’ typology generally applies; second, the outliers which the typology struggles to categorize indicate refinements can be made; and third, a fifth category could be added to class didactic statements. 2 Acknowledgements This paper would not have been possible without the following three women: Dr. Widdifield, for her infectious zeal for Mexico and its treasure trove of art. Eschelle English, for her brilliant mind and generosity. And for her unconditional love and support—my mother. 3 1. Introduction 1.1 Description of Exhibition In 2017, the doors opened to the first-ever comprehensive show of eighteenth-century Mexican art. As art critic Christopher Knight writes, it marked the “invention of an entire art history.”1 Indeed, Painted in Mexico, 1700-1790: Pinxit Mexici was not only an exhibition—it was an entrance to the admiration and study of the art of a former Mexico, one often referred to as “New Spain.” It delivered to the world an assiduously researched and thoughtfully curated collection of over one hundred paintings. Prior to this exhibition, the art of eighteenth-century New Spain was dismissed. By way of example, notable Mexican art historian Manuel Toussaint—one of the first to study colonial paintings in the 1930s and 1940s—opinioned that, within this period, “We find paintings that we should politely refrain from mentioning as part of the history of art.”2 Painted in Mexico overturns such a perspective. For the first time in over two hundred years, this period of Mexican art is receiving consideration, recognition, and, deservedly, admiration. No longer are these paintings, their artists, and the style in which they were painted neglected and scorned. Instead, the select few belonging to the collection embarked on a year-long travel and were displayed in three major institutions in both Mexico and the United States: first, the Palacio de Cultura Citibanamex, Mexico City (29 June to 15 October, 2017); second, the Los Angeles County Museum of Art, Los Angeles (19 November, 2017 to 18 March, 2018); and, finally, the Metropolitan Museum of Art (24 April to 22 July, 2018). In accompaniment to these 1 Christopher Knight, “‘Painted in Mexico:’ LACMA’s remarkable and important new show,” review of the exhibition Painted in Mexico, 1700-1790: Pinxit Mexici, Los Angeles TiMes, November 28, 2017. 2 Manuel Toussaint, Pintura colonial en México, 2nd edition, edited by Xavier Moyssén (Mexico City: Universidad Nacional Autónoma de México, 1982). 4 shows was the exhibition catalogue, a book of over five-hundred glossy pages full of images and superlative essays. In his Colonial Latin AMerican Review piece, historian William B. Taylor declares “This big, important book will be our guide to eighteenth-century painting and a touchstone for thinking about late colonial culture and politics for years to come.”3 All of this was the result of nearly a decade of work completed
Load more

Recommended publications
  • Information to Users
    Eighteenth century caste paintings: The implications of Miguel Cabrera's series Item Type text; Thesis-Reproduction (electronic) Authors Arana, Emilia Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 21:40:45 Link to Item http://hdl.handle.net/10150/278537 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerograpnically in this copy.
    [Show full text]
  • The Art of Conversation: Eighteenth-Century Mexican Casta Painting
    Graduate Journal of Visual and Material Culture Issue 5 I 2012 The Art of Conversation: Eighteenth-Century Mexican Casta Painting Mey-Yen Moriuchi ______________________________________________ Abstract: Traditionally, casta paintings have been interpreted as an isolated colonial Mexican art form and examined within the social historical moment in which they emerged. Casta paintings visually represented the miscegenation of the Spanish, Indian and Black African populations that constituted the new world and embraced a diverse terminology to demarcate the land’s mixed races. Racial mixing challenged established social and racial categories, and casta paintings sought to stabilize issues of race, gender and social status that were present in colonial Mexico. Concurrently, halfway across the world, another country’s artists were striving to find the visual vocabulary to represent its families, socio-economic class and genealogical lineage. I am referring to England and its eighteenth-century conversation pictures. Like casta paintings, English conversation pieces articulate beliefs about social and familial propriety. It is through the family unit and the presence of a child that a genealogical statement is made and an effigy is preserved for subsequent generations. Utilizing both invention and mimesis, artists of both genres emphasize costume and accessories in order to cater to particular stereotypes. I read casta paintings as conversations like their European counterparts—both internal conversations among the figures within the frame, and external ones between the figures, the artist and the beholder. It is my position that both casta paintings and conversation pieces demonstrate a similar concern with the construction of a particular self-image in the midst of societies that were apprehensive about the varying conflicting notions of socio-familial and socio-racial categories.
    [Show full text]
  • Historical / Some
    Philosophate College was inaugurated, which in 1914 was HISTORICAL forced to close in the tumultuous times of the Mexican Revolution. / OVERVIEW In the twentieth century, the building was declared a national In 1580 members of the Society of Jesus carne to monument and in 1963 the Instituto Nacional de Antropología Tepotzotlán to serve the indigenous community, creating e Historia began restoration work on the structure to house their fírst institution, the Seminary of Saint Martín, devoted the Museo Nacional del Virreinato (National Museum of the to educating the sons ofthe native nobility. Later they Viceroyalty), inaugurated on September 19, 1964. established a language school where Jesuits learned Otomí, Nahuatl, and Mazahua. The third foundation was the The architectural complex of Tepotzotlán is composed of Probation House, where young novitiates who wished to fíve patios, a garden, two mil Is, guest quarters, anda church. join the Jesuits studied. lt began as a simple house that-with the passage of time, the support of benefactors and its own resources-was In this way, various Jesuit educational institutions operated transformed until it became the impressive building that now within the same building, depending on the functions they occupies ten thousand square meters (2½ acres). performed in each of the spaces. On July 4, 1767, the Jesuits who were living in the school had to leave the country, as a result of the order to expel the Jesuits from New Spain decreed by King Charles 111. In 1777, stemming from the instructions of Archbishop Alonso Núñez de Haro y Peralta, the creation of the Royal Seminary College was approved for the instruction, voluntary retreat, and correction of secular clergy and it operated in the building until the mid-nineteenth century.
    [Show full text]
  • From Casta to Costumbrismo: Representations of Racialized Social Spaces Mey-Yen Moriuchi
    chapter 7 From Casta to Costumbrismo: Representations of Racialized Social Spaces Mey-Yen Moriuchi In colonial Mexico, the miscegenation1 of indigenous, African, and European populations resulted in a plethora of diverse genetic mixings that challenged racial and ethnic purity and disrupted social stability. The visual arts played a critical role in illustrating to contemporary viewers how to understand race scientifically and culturally. In turn, they also fostered racial stereotypes that proliferated into the nineteenth century. These stereotypes can be seen most readily in secular paintings, such as the casta and costumbrista genres, where depictions of everyday people and their daily lives were the primary subject matter. This chapter will explore the resonances between eighteenth-century casta and nineteenth-century costumbrista imagery. In the same way that a string on a musical instrument will begin to vibrate, or ‘resonate,’ when a string tuned to the same frequency upon another instrument is played, there exist important indirect resonances beyond the direct interactions between these two genres. Both the direct interactions and indirect resonances capture the visibility and invisibility of race and miscegenation. I will examine the racial- ized social spaces, that is, spatial representations of racial and social rela- tionships, in eighteenth-century casta and nineteenth-century costumbrista painting. We can find, from casta to costumbrista paintings, a continuity of aesthetic and stylistic conventions as well as underlying preoccupations with socio-racial and socio-familial relationships, a subject that has largely gone unexamined thus far in scholarship of Mexican visual culture.2 1 A mixture of races. The term was coined in 1864 and comes from the Latin words miscere (to mix) and genus (race).
    [Show full text]
  • Picturing Nature and Painting the Castas of Eighteenth-Century Mexico
    Framing the Botanical: Picturing Nature and Painting the Castas of Eighteenth-Century Mexico Akeem Flavors The tradition of casta painting is one of the most captivat- with Mörner, but argues that Cabrera, and other artists work- ing—and enigmatic—artistic genres from Mexico’s colonial ing in the second half of the century, were also painting for period. Typically painted as a series of sixteen separate a highly intellectual audience, a particular audience that, canvases, the first sets began to appear during the reign of during the Enlightenment, would have been well-versed in Spanish King Phillip V (1700-46), and production grew in understanding the visual conventions that make up casta variation and circulation throughout the remainder of the paintings and other pictures intended to diagram and better eighteenth century. Currently, at least a hundred partial or understand not only the natural world, but that which was full casta sets have been accounted for and more continue foreign, exotic, and not easily reduced to written descrip- to surface—attesting to their overwhelming popularity dur- tion. Considering this, the tradition of natural history and ing the period.1 the practice of botanical illustration will be examined with The myriad of casta paintings executed during this regard to the similarities, both visual and theoretical, that period can be seen as an attempt to visualize the complex they share with casta painting. process of mestizaje (race mixing) that occurred among the In Spain, the eighteenth century was the golden age of three most prominent ethnic groups in the Spanish American transatlantic exploratory surveys and the plant illustrations colonies: Spaniards, Indians, and Africans.
    [Show full text]
  • Five Casta Paintings by Buenaventura José Guiol, a New Discovery
    Ana Zabía de la Mata FIVE CASTA PAINTINGS BY BUENAVENTURA JOSÉ GUIOL, A NEW DISCOVERY Number 4 Five Casta Paintings by Buenaventura José Guiol A New Discovery Publisher Jaime Eguiguren Author Ana Zabía de la Mata Photography Joaquín Cortés Noriega Román Lores Riesgo Project Coordinator Sofía Fernández Lázaro FIVE Translation Edward Ewing CASTA Design and Layout Laura Eguiluz de la Rica PAINTINGS Printing & Binding BY Jiménez Godoy BUENAVENTURA JOSÉ GUIOL, Special thanks Clara E. Aranda Ruiz A NEW Colección Phelps de Cisneros Denver Art Museum DISCOVERY Encarnación Hidalgo Cámara Fernando Rayon Francis X. Rocca Tomás González Sada Hugo Armando Felix Rocha Jorge Rivas La Troupe Luis Fontes de Albornoz Mirta Insaurralde Caballero Museo de América Museo Regional Michoacano Ana Zabía de la Mata Patricia Phelps de Cisneros Vivian Velar de Irigoyen ISBN: 978-84-09-05068-0 © 2018 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without the prior permission in writing from the publisher. FIVE CASTA PAINTINGS BY BUENAVENTURA JOSÉ GUIOL, A NEW DISCOVERY FOREWORD When referring to the castas, we are transported to Hispanic-American society: more precisely, to that of 18th Century Mexico. Through these series, which have lasted over time, we can observe with some certainty, the intermingling and coexistence of different types of races that produced new lineages defined by specific names. The descendants of these mixed races formed the various castas. While the Spaniards in Hispanic America were, of course, those of the highest social rank, their spirit, often kind and amorous, did not prevent them from mixing and having children with Native American Indians, blacks and mestizas.
    [Show full text]
  • Illustrated Checklist and Exhibition Labels [English and Spanish]
    Illustrated Checklist and Exhibition Labels [English and Spanish] Section 1: Great Masters [Grandes Maestros] Juan Rodríguez Juárez (Mexico, 1675–1728), Apotheosis of the Eucharist (Apoteosis de la Eucaristía), 1723, oil on canvas, 168 7/8 × 127 9/16 in. (429 × 324 cm), Obra Nacional de Buena Prensa, Mexico City, photo © Museum Associates/LACMA/Fomento Cultural Banamex, A.C., by Rafael Doniz This oval painting depicts the Holy Sacrament flanked by Saint Francis and Saint Colette (or Saint Clare). Commissioned by Viceroy Baltasar de Zúñiga y Guzmán, Marquis of Valero (r. 1716–22), for the newly established convent of Corpus Christi in Mexico City, the work was admired in situ up to the nineteenth century. The soft chromatic range, smooth application of paint, and use of lighting effects are magisterial, as is the way the angels gracefully mimic the shape of the canvas. A touchstone of Juan Rodríguez Juárez’s work, the composition heralded a new style and was referenced by local painters throughout the century. Esta pintura ovalada representa al Santísimo Sacramento entre san Francisco y santa Coleta (o santa Clara). Encargada por el virrey Baltasar de Zúñiga y Guzmán, marqués de Valero (g. 1716-1722) para el recién fundado convento de Corpus Christi en la ciudad de México, pudo ser contemplada in situ hasta el siglo XIX. El delicado colorido, la suave factura y los efectos lumínicos son magistrales, como lo es también la elegante manera en la que los ángeles se adaptan a la forma ovalada del lienzo. La composición, piedra de toque de la obra de Juan Rodríguez Juárez, inauguró un nuevo estilo y sirvió de referencia a los pintores locales durante toda la centuria.
    [Show full text]
  • The Virgin of Guadalupe
    Notes from Fr. Nick The Virgin of Guadalupe The apparition of Our Lady of Guadalupe to Juan Diego in 1531 represents a major turning point for the indigenous people of North America, and a more refined understanding of Mary for the Church in general. For the native North American people, Mary’s apparition symbolized a change of consciousness that allowed Christi- anity to be accepted. It began the pro- cess of inculturation, whereby Europe- an culture and Native American culture began to live side-by-side and borrow from the richness of each others’ tradi- tions. Even though this process has not been an easy one, Mary’s embrace of native peoples has provided a path for various cultures to follow. From the Christian perspective, Our Lady of Guadalupe opened the native people of Central Mexico (later most of North America) to the Paschal Mystery of Jesus Christ. As with other peoples around the world, their participation in the great Christ event provided a direct path to the kingdom of God. In return, the native people of North America gave the greater Church a re-humanized image of the Mother of God. Mary is depicted as pregnant, which is affirms the dignity of woman- hood that had suffered in the Middle Ages and Reformation. Her dark skin also reveals her universal character as well as that of her Son. The Church still Miguel Cabrera, Altarpiece of the Virgin of Guadalupe with Saint John the Baptist, struggles with a Eurocentric view of Fray Juan de Zumárraga, and Juan Diego. Museo Nacional de Arte, Mexico City.
    [Show full text]
  • Portrait of Sor Juana Ines De La Cruz, 1713, Oil on Canvas
    INVESTIGATING IDENTITY: SPANISH and COLONIAL ART: 16th-18th CENTURIES (El Greco, Velazquez, and art from the Colonial Americas) SPANISH and COLONIAL ART: 16th-18th CENTURIES Online Links: El Greco's Burial of Count Orgaz – Wikipedia Burial of Count Orgaz - The Independent Diego Velazquez – Wikipedia Las Meninas – Wikipedia Las Meninas – Smarthistory Casta Paintings – Smarthistory Casta Paintings - Learner.org Cabrera's Sor Juana Ines de la Cruz - Smarthistory El Greco. The Burial of Count Orgaz, (Santo Tomé, Toledo, Spain), 1586, oil on canvas Domenikos Theotokopoulos (1541-1614) arrived in 1577 after working for ten years in Italy. El Greco (“The Greek”), as he is called, was trained as an icon painter in the Byzantine manner in his native Crete, then under Venetian rule. In about 1566, he went to Venice and entered Titian’s shop, but he must also have closely studied the paintings of Tintoretto and Veronese. From about 1570 to 1577, he worked in Rome, apparently without finding sufficient patronage. Probably encouraged by Spanish Church officials he met in Rome, El Greco immigrated to Toledo, where he was given major commissions. He apparently hoped for a court appointment, but Philip II disliked the one large painting he had commissioned from the artist for El Escorial and never gave him work again. In 1586, El Greco was commissioned to paint a large canvas illustrating a legend from the fourteenth century, The Burial of Count Orgaz. The count had been a great benefactor of the Church, and at his funeral Saints Augustine and Stephen were said to have appeared and lowered his body into his tomb as his soul simultaneously was seen ascending to heaven.
    [Show full text]
  • Precisiones Iconográficas Sobre Algunas Pinturas De La Colección
    Precisiones iconográficas sobre algunas pinturas de la colección del Museo de América, basadas en el estudio de la joyería Letizia Arbeteta Mira representada Museo de América. Madrid Iconographic study of paintings in the Museo de América collection, based on an analisys of jewellery depicted Resumen Key words: Museo de América, colonial painting, caste painting, portraits, Mexico, Los estudios sobre pintura, al describir Peru, Quito, Cuzco, Miguel Cabrera, cada obra, pocas veces prestan atención Andrés de Islas, José de Páez, Ramón a las joyas, que aparecen reproducidas Torres, Vicente Albán, goldsmithing, como un elemento más. Este trabajo, ana- Spanish and American jewellery, icono- liza parte de la colección de pintura del graphy, history of fashion. Museo de América de Madrid, ofreciendo una aproximación al mundo de la joyería virreinal española, sus modelos y crono- I. Introducción logía en relación con sus posibles fuentes europeas. De esta forma, se aportan datos La colección de pintura virreinal del Aunque "colonial" es el adjetivo usado general- que pueden servir para una datación más Museo de América comprende algo mente, el concepto de "colonia" no parece ante- precisa de las pinturas y su identificación menos de trescientas obras, de tema reli- rior al siglo XVIII, definiéndose tradicionalmente iconográfica, al tiempo que se publica un gioso en su mayor parte, ya que los retra- como "reinos" los territorios americanos de la material de trabajo básico para el conoci- tos apenas alcanzan un mínimo porcenta- miento de la joyería en la América hispa- je. Los aspectos básicos de casi la totali- Corona Española. na durante la presencia espariola.
    [Show full text]
  • The National Viceregal M Useum at Tepozotlán
    Voices of Mexico /October • December, 1992 T: TI The National Viceregal 3Ez 'Mi rr. M useum at Tepozotlán Gordana Ségota epozotlán, or "the hunchback's place", is a small town in the state of Mexico T near Mexico City. Main attractions are the former St. Martin Jesuit Seminary and St. Francis Xavier church, masterpieces of New Spanish baroque architecture. The National Viceregal Museum, located in this group of buildings, is primarily devoted to the art of colonial Mexico. Several indigenous groups such as the Mazahua, Otomí and Nahua lived in this area in the past. Their social structure was disrupted by the Spanish conquest, which brought with it the spiritual conquest entrusted to the YVVVVVY YV V V V YV VV VV YV Y V The National Viceregal Museum at Tepozotlán, located in a former Jesuit convent and church, built and decorated in Spanish colonial baroque style, houses a large collection of the religious art of four centuries. Front view of the Saint Francis Xavier church. 10 Voices o Mexico /October • December, 1992 early missionaries. First the This was the site of the most Franciscans and after them the Jesuits important Jesuit school, which carne to carry out their pastoral remained active until 1767, when the mission aided by their knowledge of Society was expelled from New Spain native languages, and by concentrating by decree of King Charles III. the surrounding population in one The completion of the College settlement. The Jesuits began to teach and the construction of the church basic subjects to the children of the were due to the Medina Picazo most prosperous natives around 1584, family, who employed a Creole which subsequently established their architect, José Durán de congregation in Tepozotlán.
    [Show full text]
  • El Cuerpo Político: La Pintura De Castas Interpretada a Través Un Marco Médico
    El cuerpo político: La pintura de castas interpretada a través un marco médico Clara Cullen The University of Michigan Ann Arbor, Michigan el 7 de abril de 2017 EL CUERPO POLÍTICO Resumen: El objetivo de este trabajo es interpretar la pintura de castas mediante un marco analítico que considera las construcciones raciales desde la perspectiva de la ideología médica a fines del siglo XVIII en México. El sistema de castas ya se ha vinculado con la medicina humoral por investigadores como Rebecca Earle y Carlos López Beltrán, pero hace falta un análisis de los cuadros mismos y más atención en el papel de la medicina en construir un sistema de imágenes propagandísticas que buscaron afirmar el control de la élite española durante un periodo de alta frustración social e incertidumbre política. Al fondo, el propósito de esta investigación es poner al descubierto cómo la medicina influía la construcción social de la raza en las colonias españolas mediante la regulación y la disciplina de cuerpos según la noción del biopoder que plantea el filósofo Michel Foucault. Palabras claves: Pintura de castas; México; Medicina humoral; Raza; Construcción social; Biopoder; Disciplina ii EL CUERPO POLÍTICO Índice Tabla de figuras …………………………………………………………… iv Agradecimientos ………………………………………………………….. v Introducción ……………………………………………………………... 1 I. La historia de la pintura de castas 4 Estado de la cuestión en lo referente a la investigación sobre la pintura de castas ………………………………………………..... 10 II. Medicina e identidad colonial 16 El legado Hipocrático-Galénico ………………………………….. 16 Una aproximación Foucaultiana …………………………………. 19 III. La pintura de castas 25 Imágenes de sangre y sexualidad: la fluidez interna de cuerpo ….. 25 Comida, consumo y cambios corporales: la fluidez por agentes externos al cuerpo ………………………………………………….
    [Show full text]