Painting As a Form of Communication in Colonial Central Andes
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Galápagos: + Peru's Land of the Inca
voyaging to galápagos voyaging to galápagos Galápagos: + Peru’s Land of the Inca > ITINERARY – 16 DAYS/15 NIGHTS, Departing EVery Friday ABOARD POLARIS Thematically, one might ask why Day 1 through Day 8: The afternoon is free to explore the Val- connect a visit to Peru with an expe- As per the Galápagos itinerary. ley on your own. (B,L,D) dition to Galápagos? We have two answers: as magnificent as Galápagos Day 9: Galápagos/Guayaquil/ Day 11: Sacred Valley of the Inca is for nature, so is Peru from an histori- Lima, Peru Visit the town and important archaeo- cal and archaeological perspective; and Disembark Polaris this morning and fly logical site of Pisac. Gateway to the second, Lima — Peru’s capital is less to Lima, Peru via Guayaquil, arriving in Sacred Valley, Pisac has an “old town” than two hours away by air from Guaya- the early evening. Spend the night at (one of the most beautiful Inca complex- quil, roughly the distance from New the gracious Orient Express Miraflores es) and a “new town” from the Colonial York City to Chicago. So, if you have Park Hotel. Tomorrow you’ll be getting era. There will be a late lunch at the the time, you’re almost there anyway. up early, so you are on your own for Hacienda Orihuela. Here the Orihuela A couple of key issues to point out. dinner. (B,L) family continues a 350-year-old tradition We spend a week in Peru. Occasion- of farming. In addition, they have gath- ally people ask, “why so long when the Day 10: Lima/Cusco/Sacred Valley ered a valuable collection of Colonial art highlight is Machu Picchu?” The fact of the Inca housed in their country mansion. -
Visual Epistemologies of Resistance: Imaging Virgins and Saints in Contemporary Cusco
Revista de Estudios Globales y Arte Contemporáneo| Vol. 7 | Núm. 1| 2020 | 237-266 Omar Rivera, Patrick Hajovsky Southwestern University, VISUAL EPISTEMOLOGIES OF Texas, US RESISTANCE: IMAGING VIRGINS AND SAINTS IN CONTEMPORARY CUSCO The project of indigenous modernity can emerge from the present in a spiral whose movement is a continuous feedback from the past to the future—a “principle of hope” or “anticipatory cons- ciousness”—that both discerns and realizes decolonization at the same time. -Silvia Rivera Cusicanqui (citing Ernst Bloch)1 In Andean aesthetics, visuality is a site of epistemic tension and a continual reverberation of colonialism. Through art that aligns with pre- 1 Ch’ixinakax utxiwa: A Reflection on the Practices and Discourses of Decolonization, The South Atlantic Quarterly 111:1 (Winter 2012): 95-109, 96. Revista de Estudios Globales y Arte Contemporáneo ISSN: 2013-8652 online http://revistes.ub.edu/index.php/REGAC/index http://creativecommons.org/licenses/by/3.0/es/ colonial indigenous epistemologies, contemporary Andean artists resist colonial and post-colonial cultural domination. In particular, they resist viewers’ designation of “syncretic” or “hybrid” to produce knowledge about art that has been fashioned by indigenous hands. Epistemological claims of “syncretism” and “hybridity” may be intended to transcend the borders between “us” and “them,” between West and non-West, or between eras in Latin America that depend on the presence or absence of Spanish colonists, but such iterations can reinvest viewers in a history of misrecognition. Nevertheless, such terms are not sedimented, for indigenous artists continue to reclaim visuality as they steadfastly hold a mirror toward artistic and epistemic paradigms that attempt to translate, erase, or manage localized colonial differences. -
The Metropolitan Museum of Art's Our Lady of Cocharcas
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-1-2020 Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas Evelin M. Chabot CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/576 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas by Evelin Chabot Griffin Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the History of Art, Hunter College The City University of New York 2020 4/27/2020 Professor Tara Zanardi Date Thesis Sponsor 4/26/2020 Professor Maria Loh Date Second Reader Contents Acknowledgements…………………………………………………………………………..……ii List of Images…………………………………………………………………….………...…iii, iv Introduction…………………………………………………………………………………..……1 Chapter One: Power, Proselytism, and Purpose……………………………………………..……8 Chapter Two: The Metropolitan Museum of Art’s Our Lady of Cocharcas…………………….34 Conclusion……………………………………………………………………………………….51 Bibliography……………………………………………………………………………………..54 Images……………………………………………………………………………………………57 i Acknowledgements Professor Tara Zanardi has my deepest gratitude for her patience and wisdom, which helped guide this thesis from its very early stages to where it is now. I am also grateful to Professor Maria Loh for her thorough review of the thesis in its final form and incredibly helpful and incisive input. I want to thank Ronda Kasl, Curator of Latin American Art at The Metropolitan Museum of Art, for inspiring me to work on these enchanting statue paintings and for her insight and guidance that spring-boarded my research at the beginning of this process. -
UCLA Historical Journal
UCLA UCLA Historical Journal Title Indians and Artistic Vocation in Colonial Cuzco, 1650-1715 Permalink https://escholarship.org/uc/item/8xh0r92z Journal UCLA Historical Journal, 11(0) ISSN 0276-864X Author Crider, John Alan Publication Date 1991 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Indians and Artistic Vocation in Colonial Cuzco, 1650-1715 John Alan Crider The school of painting that emerged in Cuzco during the second half of the seventeenth century marks one of the more extraordi- nary and unique expressions of colonial art in Spanish America. Thematically and stylistically the paintings are too Christian and urbane to be assigned the status of folk art, yet too tantalizingly "other" to be included in the canon of European art. In the Cuzco paintings Christian iconography is often strikingly reinterpreted. There is an anachronistic preference for flat hieratic figures, remi- niscent of Medieval art, and for archaic methods such as gold-lace gilding. In sum, the paintings of the Cuzco school exhibited a sur- prising fusion of European visual ideas, techniques, and styles. Primarily, this paper is interested in those anonymous Indian artisans who became increasingly active in art production after 1650, when one sees not only greater participation of native Andeans in the official guild, as reflected by contract documents, but eventually their close association with the rise of the unique artistic style which variously has been called the Cuzco school, Andean Baroque, or Andean Mestizaje. No visual representation of space can be divorced from its con- text of intellectual and social values. Indeed, in order to under- stand the circle of art which emanated from colonial Cuzco, and which intersected with the widening circles of influence shed by John Alan Crider received a B.A. -
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journal of jesuit studies 6 (2019) 270-293 brill.com/jjs Catholic Presence and Power: Jesuit Painter Bernardo Bitti at Lake Titicaca in Peru Christa Irwin Marywood University [email protected] Abstract Bernardo Bitti was an Italian Jesuit and painter who traveled to the viceroyalty of Peru at the end of the sixteenth century to make altarpieces in the service of the order’s conversion campaigns. He began his New World career in Lima, the viceregal capital and then, over a span of thirty-five years, traveled to Jesuit mission centers in cities throughout Peru, leaving a significant imprint on colonial Peruvian painting. In 1586, Bitti was in Juli, a small town on Lake Titicaca in southern Peru, where the Jesuits had arrived a decade prior and continually faced great resistance from the local popula- tion. In this paper, I will argue that Bitti’s paintings were tools implemented by the Jesuit missionaries seeking to establish European, Christian presence in the conflicted city. Thus, Bitti’s contribution at Juli can serve as but one example of how the Jesuits used art as part of their methodology of conversion. Keywords Jesuit – Bernardo Bitti – Juli – Peru – missions – colonial painting – viceroyalty – Lake Titicaca In 1576, a small group of Jesuits arrived at the town of Juli in the south of Peru. After a failed attempt by an earlier set of missionaries, and significant hesi- tancy on the part of the Jesuits the evangelization efforts at Juli would eventu- ally come to mark an example of success for other Jesuit sites. Juli presents a fascinating case of Jesuit mission activity because it offers documentation of the indigenous culture’s integration into a newly created Christian town. -
Of Painting and Seventeenth-Century
Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special -
July 30, 2017| Seventeenth Sunday in Ordinary Time (A) PARISH STAFF
Church of Our Lady of Mt. Carmel th 627 East 187 Street, Bronx, New York 10458 | T: (718) 295-3770/ 3771 | F: (718) 367-2240 www.ourladymtcarmelbx.org | Parish E-mail: [email protected] Sunday, July 30, 2017| Seventeenth Sunday in Ordinary Time (A) PARISH STAFF Pastor Rev. Fr. Jonathan Morris Parochial Vicar Rev. Fr. Urbano Rodrigues Coordinator of Religious Education Sister Edna Loquias, S.M.C. Parish Secretary Elizabeth Mannini Music Director & Organist Dr. Stephen Rapp PARISH CENTER Cantor 2380 Belmont Avenue Bronx, NY 10458 Bilen Eminov Monday through Thursday Youth Minister School Principal 9:00am to 5:00pm Jesus Vargas Ms. Valerie Savino Fridays through Labor Day—9am to Noon LITURGY OF THE EUCHARIST RITE OF MATRIMONY Saturday: 8:30am (English) | 12:00pm ( English) Wedding dates may be scheduled after initial meeting with a priest. Saturday Evening: 5:00pm (English) PASTORAL VISITS TO THE SICK Sunday: 8:30am (English) | 9:30am (Spanish) If you or someone you know is in the hospital or 11:00am (Italian) | 12:15pm (English) homebound and would be served by a pastoral visit by a Priest, Religious Sister or a lay Extraordinary 1:30pm (Spanish) Minister of Holy Communion, please contact the Parish Center. Weekday: 8:30am / 12:00pm / 6:30pm (All English) NEW PARISHIONERS RITE OF RECONCILIATION Saturdays 4:00pm to 5:00pm or any time by calling We invite new parishioners to register at the Parish the Parish Office. Center. RELIGIOUS EDUCATION PROGRAM RITE OF BAPTISM 2nd Sunday of every month in Spanish at 2:30pm For information please call Sr. -
17TH SUNDAY in ORDINARY TIME JULY 30, 2017 Outreach Programs
MISSION STATEMENT ST. JOSEPH THE WORKER is a Eucharistic ST. JOSEPH THE WORKER is a Eucharistic community of believers commissioned through community of believers commissioned through our Baptism to share the Gospel message of our Baptism to share the Gospel message of Jesus Christ with all people. Out of our diversity Jesus Christ with all people. Out of our diversity we create unity through respect for every we create unity through respect for every person, common celebrations, sacramental person, common celebrations, sacramental worship, Christian education of all ages, and worship, Christian education of all ages, and outreach programs. 17TH SUNDAY IN ORDINARY TIME JULY 30, 2017 outreach programs. WELCOME! We are pleased that you have chosen to worship here today and hope you will find this community a place where your faith can be nourished. ForVisit the Parishinformation Center about or www.sjwchurch.com. our parish, visit the Parish Center or www.sjwchurch.com. MASSES MASSESSaturday Saturday8:30 a.m., 5:30 p.m. (Vigil), English 8:30Sunday a.m., 5:30 p.m. (Vigil) English Sunday7:30, 9:30, 11:30 a.m., English 7:30,1:30, 9:30,7:30 p.m.,11:30 Spanish a.m. English 1:30,5:30 p.m.,7:30 p.m.Vietnamese Spanish 5:30Monday p.m. - Friday Vietnamese Monday6:30, 8:30 - Friday a.m., English 6:30,First Friday 8:30 :a.m. 7:30 English p.m., Spanish Holy Days 6:30 p.m. (Vigil)(Vigil), English English 6:30, 8:30 a.m., 6:45 p.m.,p.m. -
Orgues Historiques D'andahuaylillas
ORGUES HISTORIquES D’ANDAHUAYLILLAS (PÉROU) Fiesta andina Aux orgues historiques : Juan Capistrano Percca Francis Chapelet – Uriel Valadeau Avec la participation de : El Coro de Niños y la Danza Cápac Qolla de Andahuaylillas, Les jeunes musiciens baroques du ”Conservatoire Itinérant” Préparation et direction : Judith Pacquier, Jennifer Vera & Fabio Pérez Avec la contribution d’Éric Samson, journaliste, pour Radio France Internationale Photos intérieures : Ferrante Ferranti 1 Les circonstances de l’enregistrement À l’exception de sa première plage, qui fait appel à un document sonore d’archive (capté en août1965) le présent enregistrement a été réalisé pour une partie par la captation « in vivo » du concert inaugural des orgues historiques de l’église Saint Pierre d’Andahuaylillas, au Pérou, le samedi 31 octobre. Cependant toutes les œuvres pour orgues ont été enregistrées au cours des nuits qui suivirent cet événement. Présenté avec le concours de plus de quatre-vingt musiciens – enfants d’Andahuaylillas, jeunes musiciens en provenance du Chili, Cuba, Colombie, Paraguay et Pérou, et de France, ce concert placé sous la haute présidence de Madame Cécile Pozzo di Borgo, ambassadeur de France au Pérou, marquait également la conclusion du premier sommet panaméricain des jeunes musiciens baroques organisé simultanément à Andahuaylillas. On pourra s’étonner de la présence, ici, d’un reportage effectué pour Radio France Internationale à l’issue de ce concert. Mais il nous a semblé que ce « bonus » pouvait contribuer de façon très significative à restituer aussi bien l’ambiance qui régnait ce jour là à Andahuaylillas, qu’à témoigner de l’action des Chemins du Baroque en Amérique Latine. -
Date: Artist: Period/Style: Patron
TITLE:Frontispiece of the codex LOCATION: New Spain (AKA Mexico) DATE: 1541-1542 Mendoza ARTIST: Viceroyalty of New Spain PERIOD/STYLE: Colonial American Art PATRON: Antonio de Mendoza MATERIAL/TECHNIQUE: Ink and color on paper FORM: The Codex Mendoza is a history of the Mexica (a.k.a. Aztec) people and the growth of their empire. The Frontispiece of the Codex Mendoza features an eagle perched on a cactus, which represents the founding of Tenochtitlan, the site of present-day Mexico City. The gods told the Mexica people that such a sighting would show them where to settle. The year was 1325 when the Mexica people went in search of the site of their future home. Led by Tenoch, who can be seen to the left of the eagle with his own cactus behind him, the Mexica ended up settling on an island in the middle of Lake Texcoco. FUNCTION: the Codex Mendoza contains the history of Mexica conquests over the Colhuacan and Tenoyucan, a list of tributes paid by the tribes they conquered, and details of everyday life. The document was sent via ship to Spain, where it was supposed to reach King Charles. However, French pirates captured the ship and took the Codex as booty. The Codex eventually found its way to a member of the French court, Andre Thevet, who was King Henry II’s official cosmographer. Thevet decided to write his name on the Codex in a number of different places, adding yet another layer to its history. Later, it ended up in English hands in the library at Oxford Universi- ty. -
La Aceleración Del Universo Abre Rutas Para Ubicar La Materia Y Energía
La aceleración del universo abre rutas para ubicar la materia y energía oscuras 3 Estrellas pop unidas en la crisis 5 Tenebrosa Tenebrax, una nueva colección infantil para pasarlo de miedo 7 Una burbuja para árabes y judíos 8 'Piña' de Michael Cera 10 Los mercenarios pierden el tren 12 Un museo en el museo 14 Nuevos clásicos en tiempo real 18 La Humanidad rusa 21 Una cápsula espacial en el universo del Hermitage 23 'El petróleo es la sangre de la guerra' 25 El delantal de cuero y los guantes de Blojin 28 Usan la matemática para evaluar la prevención de epidemias 30 Se estudia vacuna con base en el virus del mosaico de la papaya 32 Los analgésicos causan más muertes en EE.UU. que la cocaína 34 Fragmentos del Quijote, en una versión en quechua 36 Caperucita roja 38 A la sombra de los dinosaurios vivió un raro mamífero patagónico 40 Un asesinato matemático 42 Hallan nuevos efectos de la falta de luz y el estrés 44 Para detectar la diabetes, "¡Pimba!.., hacéte el test" 46 La literaria historia de la isla de Redonda 48 La adolescente terrible 55 Un triple retrato en el objetivo 57 Reconocen trabajo de universitaria acerca de las emociones morales 61 Cattelan flota en el Guggenheim 63 La obra del Paraíso 65 Lo que nos une con nuestro opuesto 68 Fotos que se comprometen con la tierra (africana) 72 México en el objetivo 74 La espirulina, con alto grado proteínico y auxiliar en padecimiento de hígado graso 79 Ocupemos el futuro 75 La envidia, un potente estímulo para la memoria y la atención 83 La gran aventura de la fotografía latinoamericana -
In Pursuit of Caravaggio
IN PURSUIT OF CARAVAGGIO 21 November 2016 – 27 January 2017 38 Dover Street, W1S 4NL, London Robilant+Voena are pleased to present In Pursuit of Caravaggio at their London gallery from 21 November 2016 to 27 January 2017. Robilant+Voena is the premier international gallery for the Caravaggesque, paintings by the European artists who flocked to Rome around 1600 and fuelled an artistic revolution instigated by Michelangelo Merisi da Caravaggio (1573-1610). Timed to coincide with the National Gallery of Art’s exhibition Beyond Caravaggio, In Pursuit of Caravaggio is an exhibition which will display an exceptional group of Caravaggesque paintings as a vehicle to explore the profound way that art dealers have informed and influenced the reception of the controversial art of Caravaggio and his followers. The years proceeding Michelangelo Merisi da Caravaggio’s (1573-1610) arrival in Rome in the late summer of 1592 were transformative in the history of western art. Caravaggio landed in the Eternal City and both scandalised and delighted artistic patrons with his brutally naturalist style. His manner was revolutionary and stood counter to the classical idealism of traditional Roman painters. His influence was profound and he quickly garnered a following of both artists and patrons. So when Caravaggio, at the height of his fame, left Rome in 1606, his insistence not to take pupils or to run an organised workshop left no obvious successor to fill the extraordinary demand for commissions. But Rome was filled with artists who were inspired by Caravaggio’s methods. These artists adopted the tenets of Caravaggio’s art (a realistic depiction of figures, dramatic subject matter, and use of chiaroscuro, a high contrast of light to dark) and gave birth to one of the most expressive and beautiful artistic movements of all time.