The Narration and Reception of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba”
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University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 5-1-2008 'Bajo su sombra': The aN rration and Reception of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba Paul Barrett ielN l Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Niell, Paul Barrett. "'Bajo su sombra': The aN rration and Reception of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba." (2008). https://digitalrepository.unm.edu/arth_etds/2 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. The University of New Mexico “‘Bajo su sombra’: The Narration and Reception of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba” by Paul Barrett Niell Masters of Arts, Art History, University of South Carolina, 2003 Bachelors of Arts, Art History, College of Charleston, 2001 A Dissertation Submitted to the Faculty of the College of Fine Arts in Candidacy of the Degree of Doctor of Philosophy Department of Art and Art History Albuquerque, New Mexico May, 2008 TABLE OF CONTENTS LIST OF ILLUSTRATIONS INTRODUCTION………………………………………………………...1 Chapter I. SPACE, TIME, AND IDENTITY IN HAVANA’S “TRADITIONAL” URBAN LANDSCAPE…………….13 I.1 Conquest and Urbanization I.2 The Plaza as Narrative Space I.3 Visual Representation and Identity I.4 Temporality and Reception Chapter II. INVENTING A VISUAL LANGUAGE OF PROGRESS IN COLONIAL HAVANA………………..77 II.1 The Bourbon Palaces: A Visual Reordering II.2 The Espada Cemetery: Local Agency and Visual Language II.3 The Havana Cathedral: A New Image of Antiquity Chapter III. THE SHRINE, THE TREE, AND THE PLAZA..……..145 III.1 Imagining/Imaging the Site of the Ceiba Tree III.2 The Didactic Shrine Chapter IV. LA ISLA SIEMPRE LEAL: PERFORMANCE, IMAGE, TEXT, AND PENINSULAR RECEPTION….206 IV.1 The Shrine as Urban Spectacle IV.2 Peninsular Reception of Icons and Symbols IV.3 The Calm Within the Storm Chapter V. LOCAL IDENTITY AND RECEPTION: CREOLE AND AFRO-CUBAN…………………….....257 V.1 Modernity, Creole Community, and the City V.2 The Indian Figure and Miscegenation in Cuba V.3 La Población Blanca: Race, Representation and “White” Community V.4 Changó and the Tree: Afro-Cuban Reception of the City V.5 The Shrine and the Sacred Grove CONCLUSION……………………………………................................319 LIST OF REFERENCES……………………………………………….324 LIST OF ILLUSTRATIONS Fig. 1 Cuba, map Llilian Llanes. Map of Cuba. p. 6 in The Houses of Old Cuba by Llilian Llanes. New York: Thames and Hudson, 1999………………………………………..15 Fig. 2 City and Bay of Havana, drawing General Archives of the Indies, Seville, Spain Anonymous. Ciudad y Bahía de la Habana. p. 23 in La Habana Vieja: Mapas y Planos en los Archivos de España. Madrid: Ministerio de Asuntos Exteriores de España, 1985………………………………29 Fig. 3 Reconstruction Drawing of the Plaza de Armas in 1570-74, drawing Roberto Segre. Plaza de Armas aún cubierta de construcciones. Siglo XVI (entre 1570 y 74). p. 27 in La Plaza de Armas de la Habana: Sinfonía urbana inconclusa by Roberto Segre. La Habana: Editorial Arte y Literatura, 1995…………………………………...31 Fig. 4 Reconstruction Drawing of the Plaza de Armas in 1586, drawing Roberto Segre. Plaza de Armas a finales del siglo XVI (después de 1586). p. 19 in La Plaza de Armas de la Habana: Sinfonía urbana inconclusa by Roberto Segre. La Habana: Editorial Arte y Literatura, 1995…………………………………………..34 Fig. 5 Plaza de Armas and Environs, 1691, color drawing, General Archives of the Indies, Seville, Spain Síscara. Plaza de Armas y Alrededores. p. 35 in La Habana Vieja: Mapas y Planos en los Archivos de España. Madrid: Ministerio de Asuntos Exteriores de España, 1985………………………………38 Fig. 6 Plan of Havana, late 18th-century, drawing Pamela Gosner. Plan of Havana, Cuba. p. 33 in Caribbean Baroque: Historic Architecture of the Spanish Antilles by Pamela Gosner. Pueblo, Colorado: Passegiata Press, 1996……………….40 Fig. 7 The Plaza Nueva, mid-19th century, aquatint Hippolyte Garneray, Vista de la Plaza Vieja o Mercado principal de La Habana, mid-19th century, aquatint, p. 148 in Las Calles de La Habana Intramuros: Arte, historia, y tradiciones en las calles y plazas de La Habana Vieja by Manuel Fernández Santalices. Miami: Saeta Ediciones, 1985……………………………………43 Fig. 8 View of the Plaza San Francisco, c. 1845-55, lithograph James Gay Sawkins and Louis Julien Jacotett, Vista de la Plaza de San Francisco, c. 1845-55, lithograph, p. 126 in Las Calles de La Habana Intramuros: Arte, historia, y tradiciones en las calles y plazas de La Habana Vieja by Manuel Fernández Santalices. Miami: Saeta Ediciones, 1985……………………………………45 Fig. 9 Church of Santo Cristo del Buen Viaje and Plaza de Cristo, 1870’s, lithograph Victor Patricio de Landaluze, Iglesia del Santo Cristo del Buen Viaje, c. 1870’s, lithograph, p. 315 in Cuba: Arquitectura y Urbanismo by Felipe J. Préstamo y Hernández. Miami: Ediciones Universal, 1995…………………………….…46 Fig. 10 Central Doorway, Casa de la Obra Pía, Havana, 17th century, photograph Photo by author…………………………………………..51 Fig. 11 Window Above Central Doorway, Casa de la Obra Pía, Havana, 17th century, photograph Photo by author…..………………………………………52 Fig. 12 Façade, Casa del Conde de San Juan Jaruco, Havana, 17th century, photograph Photo by author…..………………………………………55 Fig. 13 Cathedral of Havana Pedro Medina and others. Cathedral of Havana, Plaza of the Cathedral, 1748-71 Photo by author…..………………………………………57 Fig. 14 View of the Plaza of the Cathedral, 1852, lithograph Frederic Mialhe. Vista de la Catedral. p. 61 in Mialhe’s Colonial Cuba: The Prints that Shaped the World’s View of Cuba by Emilio Cueto. Miami: The Historical Association of Southern Florida, 1994…………………………………...59 Fig. 15 Loggias Along Plaza, Casa de los Trés Arcos and the Casa de los Condes Lombillo, Havana, mid 18th-century, photograph Photo by author…………………………………………..60 Fig. 16 Volute, Casa de los Trés Arcos, Havana, mid 18th-century, photograph Photo by author…..………………………………………61 Fig. 17 Volute, Cathedral of Havana, 1748-71, photograph Photo by author………………………………………......62 Fig. 18 Coronation of the Virgin by the Trinity, late 18th-century, oil on board, 34 by 28 inches José Nicolas de la Escalera. Coronation of the Virgin by the Trinity. p. 51 in Cuba: A History in Art by Gary R. Libby. Daytona Beach, Florida: The Museum of Arts and Sciences, 1997…………..……64 Fig. 19 Portrait of Don Tomas Mateo Cervantes, c. 1800, oil on canvas, 41 by 32 inches Vicente Escobar. Portrait of Don Tomas Mateo Cervantes. p. 53 in Cuba: A History in Art by Gary R. Libby. Daytona Beach, Florida: The Museum of Arts and Sciences,1997………………...66 Fig. 20 Los Negros Curos, c. 1875, color lithograph Victor Patricio de Landaluze. Los Curros. p. 33 in Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion by David H. Brown. Chicago and London: The University of Chicago Press, 2003………………….72 Fig. 21 The Day of Kings, c. 1878, oil on canvas Victor Patricio de Landaluze. El Día de Reyes. p. ?? in Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion by David H. Brown. Chicago and London: The University of Chicago Press, 2003…………….…....74 Fig. 22 Engraving of the Plaza Mayor of Mexico City, 1797, engraving José Joaquín Fabregat. Engraving of the Plaza Mayor of Mexico City. p. 60 in The Grandeur of Viceregal Mexico: Treasures from the Museo Franz Mayer edited by Héctor Rivero Borrell M. Austin: University of Texas Press, 2002………………………………………………………80 Fig. 23 The Plaza de Armas of Havana in the Nineteenth-Century, c. 1800, color drawing Hipolito Garneray. La Plaza de Armas en el siglo XIX. p. 56 in La Habana Vieja: Mapas y Planos en los Archivos de España. Madrid: Ministerio de Asuntos Exteriores de España, 1985………………………….…………………………...83 Fig. 24 Project for the Formation of the Plaza de Armas of Havana, 1773, color drawing, General Archives of the Indies, Seville, Spain Ramón Ignacio de Yoldi. Proyecto para la Formación de la Plaza de Armas de la Habana. p. ?? in La Habana Vieja: Mapas y Planos en los Archivos de España. Madrid: Ministerio de Asuntos Exteriores de España, 1985………………………..……………………………85 Fig. 25 Reconstruction Drawing of the Bourbon Intention for the Plaza de Armas of Havana, drawing Roberto Segre. Proyecto de remodelación, nunca completado, propuesto por el Marqués de la Torre en 1773. p. 37 in La Plaza de Armas de la Habana: Sinfonía urbana inconclusa by Roberto Segre. La Habana: Editorial Arte y Literatura, 1995………………………………………..…87 Fig. 26 Palace of the Second-in-Command, Plaza de Armas, Havana, 1771-76, photograph Antonio Fernández de Trevejos. Photo by author………………………………………......88 Fig. 27 Palace of the Captain General, Plaza de Armas, Havana, 1776-91, photograph Antonio Fernández de Trevejos and Pedro Medína Photo by author………………………………………......89 Fig. 28 Central Doorway, photograph Antonio Fernández de Trevejos, Palace of the Second-in-Command, Havana, 1771-73 Photo by author………………………………………......91 Fig. 29 Corner Entablature, photograph Antonio Fernández de Trevejos and Pedro Medína Palace of the Captain General, Havana, 1776-91 Photo by author…………………………………………..92 Fig. 30 Window Lintel Decoration, photograph Antonio Fernández de Trevejos and Pedro Medína Palace of the Captain General, Havana, 1776-91 Photo by author………………………………………......93 Fig. 31 View of the Palace of the Captain General from Mercaderes Street Antonio Fernández de Trevejos and Pedro Medína Palace of the Captain General, Havana, 1776-91 Photo by author……………………………………….….94 Fig. 32 View of the General Cemetery of the City of Havana Frederic Mialhe. Vista del Cementerio General de la Ciudad de la Habana, c.