DOCSLIB.ORG

Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln Early Modern Cultural and Artistic View Online Encounters: Hybridity and Globalisation (HST3074M) Level 3 [1] Alcalâa, L.E. and Brown, J. eds. 2014. Painting in Latin America, 1550-1820. Yale University Press. [2] Alcala, L.E. 2014. ‘Painting in Latin America. A Historical and Theoretical Framework’ in Painting in Latin America, 1550-1820. L.E. AlcalaÌ and J. Brown, eds. Yale University Press. 14–68. [3] Art & Architecture Thesaurus (Getty Research Institute): http://www.getty.edu/research/tools/vocabularies/aat/index.html. [4] Bailey, G.A. 2013. Art, Architecture, and Religious Orders in the Latin Americas: From Quebec to Quito. Latin American Research Review. 48, 3 (2013), 181–192. DOI:https://doi.org/10.1353/lar.2013.0033. [5] Bailey, G.A. 2005. Art of colonial Latin America. Phaidon Press. [6] 1/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln Bailey, G.A. 2005. ‘Eyeing the Other’ in Art of colonial Latin America. Phaidon Press. 69–108. [7] Bailey, Gauvin Alexander 1998. The Indian Conquest of Catholic Art: The Mughals, the Jesuits, and Imperial Mural Painting. (1998). [8] Bakewell, P.J. 2004. A history of Latin America: c. 1450 to the present. Blackwell Pub. [9] Barbara Karl Embroidered Histories: Indian Textiles for the Portuguese Market During the ... [10] Baroque: The First Global Style - Victoria and Albert Museum: http://www.vam.ac.uk/content/articles/b/the-baroque/. [11] Books with Full-Text Online | MetPublications | The Metropolitan Museum of Art: http://www.metmuseum.org/art/metpublications/titles-with-full-text-online?searchtype=F& amp;rpp=12&pg=1. [12] Bottineau, Y. et al. 1971. Living architecture: Iberian-American baroque. Macdonald & Co. [13] Brotton, J. 1997. Trading territories: mapping the early modern world. Reaktion Books. 2/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [14] Brown, J. and Brown, J. 1998. Painting in Spain, 1500-1700. Yale University Press. [15] Burke, P. A Case of Cultural Hybridity: the European Renaissance. Max Planck Institute for Social Anthropology. Open-access Googy Lecture 2010. [16] Bury, J.B. 1956. Late Baroque and Rococo in North Portugal. Journal of the Society of Architectural Historians. 15, 3 (Oct. 1956), 7–15. DOI:https://doi.org/10.2307/987760. [17] Bury, J.B. 1976. The Stylistic Term ‘Plateresque’. Journal of the Warburg and Courtauld Institutes. 39, (1976). DOI:https://doi.org/10.2307/751139. [18] Buylaert, Frederik; 2015. City Portrait, Civic Body, and Commercial Printing in Sixteenth-Century Ghent. (2015). [19] Checa Cremades, F. and Fernâandez-Gonzâalez, L. 2015. Festival culture in the world of the Spanish Habsburgs. Ashgate. [20] Churrigueresque - Grove Art Online: http://www.oxfordartonline.com.proxy.library.lincoln.ac.uk/subscriber/article/grove/art/T01 7669?q=Churrigueresque&search=quick&pos=1&_start=1#firsthit. 3/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [21] Clunas, C. 2013. The art of global comparisons: Chapter. Writing the history of the global: challenges for the 21st century. M. Berg, ed. Published for The British Academy by Oxford University Press. [22] Colonial Art and Portuguese and Spanish Empires Research Papers - Academia.edu (open access): http://www.academia.edu/Documents/in/Colonial_Art_and_Portuguese_and_Spanish_Empir es. [23] Colonial Latin America, collection of primary textual sources and misc.: http://sourcebooks.fordham.edu/halsall/mod/modsbook08.asp. [24] Colonial Latin American Art- Mexico and Peru Research Papers - Academia.edu (open access): http://www.academia.edu/Documents/in/Colonial_Latin_American_Art-_Mexico_and_Peru. [25] Crouch, D.P. et al. 1982. ‘City Planning Ordinances of the Laws of the Indies’ in Spanish city planning in North America. MIT Press. 6–22. [26] Cultural Readings: Colonization and Print in the Americas: http://www.library.upenn.edu/exhibits/rbm/kislak/index/cultural.html. [27] Dean, C. and Leibsohn, D. 2003. Hybridity and Its Discontents: Considering Visual Culture in Colonial Spanish America*. Colonial Latin American Review. 12, 1 (Jun. 2003), 5–35. 4/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln DOI:https://doi.org/10.1080/10609160302341. [28] Dean, C.S. 1996. Copied Carts: Spanish Prints and Colonial Peruvian Paintings. The Art Bulletin. 78, 1 (1996). DOI:https://doi.org/10.2307/3046159. [29] Donahue-Wallace, K. 2008. Art and architecture of viceregal Latin America, 1521-1821. University of New Mexico Press. [30] Donald F. Lach Asia in the Making of Europe, Volume II: A Century of Wonder. Book 1: The ... [31] Donna Pierce, Rogelio Ruiz Gomar, Clara Bargellini, Frederick and Jan Mayer Center for Pre-Columbian and Spanish Colonial Art Painting a New World: Mexican Art and Life, 1521-1821. [32] Elena Phipps, Johanna Hecht, Cristina Esteras Martín The Colonial Andes: Tapestries and Silverwork, 1530-1830. [33] Encompassing the globe III : Portugal and the world in the 16th & 17th centuries : Levenson, Jay A (open access): https://archive.org/details/encompassingglob03leve. [34] Encompassing the globe II Portugal and the world in the 16th & 17th centuries : Levenson, Jay A (open access): https://archive.org/details/encompassingglob02leve. 5/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [35] Encompassing the globe : Portugal and the world in the 16th & 17th centuries : Levenson, Jay A (open access): https://archive.org/details/encompassingglob02leve. [36] Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries Arthur M. Sackler Gallery, Smithsonian Institution, On-line Exhibition: https://www.asia.si.edu/EncompassingtheGlobe/. [37] Engraved Sources of Spanish Colonial Art: http://colonialart.org. [38] Escorial - Grove Art Online: http://www.oxfordartonline.com.proxy.library.lincoln.ac.uk/subscriber/article/grove/art/T02 6666#T026668. [39] Estilo desornamentado - Grove Art Online: http://www.oxfordartonline.com.proxy.library.lincoln.ac.uk/subscriber/article/grove/art/T02 6814. [40] Feliciano, María Judith; 2006. Introduction: Interrogating Iberian Frontiers. (2006). [41] Gauvin Alexander Bailey Art on the Jesuit Missions in Asia and Latin America, 1542-1773. 6/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [42] Getty Vocabularies (Getty Research Institute): http://www.getty.edu/research/tools/vocabularies/index.html. [43] Gloria Fraser Giffords Sanctuaries of Earth, Stone, and Light: The Churches of Northern New Spain ... [44] Gruzinski, S. 2015. Art History and Iberian Worldwide diffussion. Circulations in the global history of art. T.D. Kaufmann et al., eds. Ashgate. 47–58. [45] Hamann, Byron Ellsworth 2010. Interventions: the mirrors of Las Meninas: cochineal, silver, and clay. (2010). [46] Harley, J. B 1988. Silences and Secrecy: The Hidden Agenda of Cartography in Early Modern Europe. (1988). [47] Helge, W. 2016. The Globalization of Knowledge in the Iberian Colonial World. [48] Heritage of Portuguese Influence: http://www.hpip.org/Default/en/Homepage. [49] Heritage of Portuguese influence: http://www.hpip.org/Default/en/Homepage. 7/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [50] Herrera, Juan de - Grove Art Online: http://www.oxfordartonline.com.proxy.library.lincoln.ac.uk/subscriber/article/grove/art/T03 7845?q=Juan+de+Herrera&search=quick&pos=1&_start=1#firsthit. [51] Hispanic Collections: http://www.bl.uk/reshelp/findhelplang/spanish/hispcoll/hispaniccols.html. [52] Hispanic Reading Room (Hispanic Division, Library of Congress): http://www.loc.gov/rr/hispanic/. [53] Home | The John Carter Brown Library (one of the major collections/repositories re. colonial America): https://www.brown.edu/academics/libraries/john-carter-brown/. [54] How to Be a Global Historian: review articles: 2009. http://www.publicbooks.org/nonfiction/how-to-be-a-global-historian. [55] Image Resources & Collections (Getty Research Institute): http://www.getty.edu/research/tools/article_databases/images.html. [56] Indo-Portuguese Art Research Papers - Academia.edu (open access): http://www.academia.edu/Documents/in/Indo-Portuguese_Art. 8/14 09/26/21 Early Modern Cultural and Artistic Encounters: Hybridity and Globalisation (HST3074M) | University of Lincoln [57] Jackson, A. and Jaffer, A. 2004. Encounters: the meeting of Asia and Europe, 1500-1800. V&A Publications. [58] John Irwin 1955. Reflections on Indo-Portuguese Art. The Burlington Magazine. 97, 633 (1955), 386–390. [59] Kagan, R.L. and MariÌas, F. 2000. ‘Spain and America: A cartographic Encounter?’ inUrban images of the Hispanic world, 1493-1793. Yale University Press. 45–70. [60] Kahr, M.M. 1975. Velazquez and Las Meninas. The Art Bulletin. 57, 2 (Jun. 1975). DOI:https://doi.org/10.2307/3049372. [61] Kaufmann, T.D. et al. eds. 2015. Circulations in the global history of art. Ashgate. [62] Kaufmann, T.D. et al. eds. 2015. Introduction: Reintroducing circulations: historiography and the project of global art history. Circulations in the global history of art. Ashgate. 1–22. [63] Kubler,
Load more

Recommended publications
  • The Architectural Style of Bay Pines VAMC
    The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques.
    [Show full text]
  • Renaissance Architecture History of Architecture
    Renaissance Architecture History of Architecture No’man Bayaty Introduction • The Renaissance movement was a grand scale movement in art, literature sculpture and architecture. • The time in which it spread between 15th century and 17th century, was a time of movement in philosophy, science and other ideas. • At this time Europe was made of many small states united or trying to get united under larger kingdoms. • The Italian cities were independent, each with its special culture. • The Holy Roman Empire was quite weak, and the so were the Popes. • Local cultures were rising, so were local national states. • Europe lost Constantinople in 1453 A. D. but got all of Spain back. Introduction • Scientific achievements were getting more realistic, getting away from the mystical and superstitious ideas of the medieval ages. • The Christian reformation led by Martin Luther in 1517 A.D. added more division to the already divided Europe. • Galileo (1564 – 1642 A. D.) proved the earth was not the center of the universe, but a small dot in a grand solar system. • Three inventions had a great influence, gunpowder, printing and the marine compass. Introduction Introduction • Renaissance started in Italy. • The Gothic architecture never got a firm hold in Italy. • Many things aided the Italians to start the Renaissance, the resentment to Gothic, the discovery of new classical ruins and the presence of great Roman structures. • The movement in art and sculpture started a century before architecture. • The movement was not a gradual development from the Gothic, like the Gothic did from Romanesque, but was a bit more sudden and more like a conscious choice by artists and architects.
    [Show full text]
  • Manifiesto De La Alhambra English
    Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way.
    [Show full text]
  • Circle Patterns in Gothic Architecture
    Bridges 2012: Mathematics, Music, Art, Architecture, Culture Circle patterns in Gothic architecture Tiffany C. Inglis and Craig S. Kaplan David R. Cheriton School of Computer Science University of Waterloo [email protected] Abstract Inspired by Gothic-influenced architectural styles, we analyze some of the circle patterns found in rose windows and semi-circular arches. We introduce a recursive circular ring structure that can be represented using a set-like notation, and determine which structures satisfy a set of tangency requirements. To fill in the gaps between tangent circles, we add Appollonian circles to each triplet of pairwise tangent circles. These ring structures provide the underlying structure for many designs, including rose windows, Celtic knots and spirals, and Islamic star patterns. 1 Introduction Gothic architecture, a style of architecture seen in many great cathedrals and castles, developed in France in the late medieval period [1, 3]. This majestic style is often applied to ecclesiastical buildings to emphasize their grandeur and solemnity. Two key features of Gothic architecture are height and light. Gothic buildings are usually taller than they are wide, and the verticality is further emphasized through towers, pointed arches, and columns. In cathedrals, the walls are often lined with large stained glass windows to introduce light and colour into the buildings. In the mid-18th century, an architectural movement known as Gothic Revival began in England and quickly spread throughout Europe. The Neo-Manueline, or Portuguese Final Gothic, developed under the influence of traditional Gothic architecture and the Spanish Plateresque style [10]. The Palace Hotel of Bussaco, designed by Italian architect Luigi Manini and built between 1888 and 1907, is a well-known example of Neo-Manueline architecture (Figure 2).
    [Show full text]
  • Museo De Las Casas Reales – Santo Domingo
    Museo de Las Casas Reales – Santo Domingo Organization of the American States and the Museum of Modern Art of Latin America Text by Maria Angeles Castro Photographs by Angel Hurtado The architecture of the Museo de las Casas Reales, Santo Domingo’s oldest structure and the first in the Americas, has been called a hybrid style which was typical of the same period in Spain. One sees forms reproduced or adapted from medieval Gothic, the Italian Renaissance, and the Classical Greek and Roman styles, together with the Spanish Plateresque and Moorish elements. There are very few monuments that we may classify within a specific, pure architectural style. One influence follows another or intermingled with it. Thus, we may observe in buildings such as the Cathedral that a Gothic interior has a purely Plateresque façade. This happens again and again in most of the monuments, where the Medieval coexists with the Renaissance and where perhaps a Mudejar arch may open onto a Classical façade. Santo Domingo tended to copy the Gothic style from Spain during the Renaissance period when their mother country adopted it from Italy. Those who came to these new lands could not avoid bringing with them this familiar style with its medieval roots. However, rather than the pure Gothic, the buildings of the old city followed more the so-called Isabelline style in which the Gothic repertoire and moldings combined with purely Mudejar elements. Baroque architecture in Santo Domingo is timidly presented, always within a more sober and modest line. It is only in the altar pieces that it attains the richness so characteristic of this style which developed in other American countries.
    [Show full text]
  • Bienvenidos a Córdoba Welcome to Cordoba
    1 Índice Index Córdoba, cercana y llena de vida 4 Córdoba, nearby anf full life Viaje en el Tiempo 4 A Journey back in Time Patrimonio de la Humanidad 7 World Heritage Cómo conocer la ciudad 7 Getting to know the city Descubre la Noche de Córdoba 9 Discover the Night of Cordoba Legado Monumental 10 Monumental Heritage Rutas por Córdoba 23 Routes in Cordoba Córdoba todo el año 25 Cordoba all year round Capital Europea de la Cultura 28 European Capital of Culture Para los Niños 30 For Children Carácter propio 31 A character of its own La cocina cordobesa 32 Cordoba’s Cuisine Ciudad de Congresos 34 A Conference City Turismo Idiomático 35 Language Tourism Disfruta la ciudad 36 Enjoying the city Córdoba, natural y activa 37 Natural and active Cordoba Créditos / Credits Fotografías / Photographs Córdoba ecuestre 40 José Nieto Equestrian Cordoba Federico Rodríguez Ardila “FOTÓGRAFOS ASOCIADOS. Córdoba” A un paso de Córdoba 41 Diseño / Design Surrounding the capital city Insinúa comunicación creativa Agradecimientos: Datos prácticos 43 El Consorcio de Turismo de Córdoba agradece la colaboración a todas las instituciones y empresas que han participado en la Useful information elaboración de esta guía. Special thanks to: Plano de la ciudad 50 The Consorcio de Turismo de Cordoba would like to thank all the institutions and companies participating in the develop- City map ment of this guide for their cooperation. 2 Bienvenidos a Córdoba Welcome to Cordoba Compendio de pasado y modernidad, esta ciudad milenaria, declarada Patrimonio de la Humanidad, es un testimonio vivo de las culturas que se asentaron en ella.
    [Show full text]
  • Tobb University of Economics and Technology Graduate School of Natural and Applied Sciences
    TOBB UNIVERSITY OF ECONOMICS AND TECHNOLOGY GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES THE EFFECTS OF UTOPIC TRANSFORMATION OF THE SHOPPING CENTERS ON FUNDAMENTAL COMPONENTS OF ARCHITECTURAL PROGRAMS MASTER OF ARCHITECTURE Mehmet YILDIRIM Department of Architecture Supervisor: Assoc. Prof. Murat Sönmez Anabilim Dalı : Herhangi Mühendislik, Bilim Programı : Herhangi Program DECEMBER 2020 DECLARATION OF THE THESIS I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Also, this document has prepared in accordance with the thesis writing rules of TOBB ETU Graduate School of Natural and Applied Sciences. Mehmet Yıldırım iii TEZ BİLDİRİMİ Tez içindeki bütün bilgilerin etik davranış ve akademik kurallar çerçevesinde elde edilerek sunulduğunu, alıntı yapılan kaynaklara eksiksiz atıf yapıldığını, referansların tam olarak belirtildiğini ve ayrıca bu tezin TOBB ETÜ Fen Bilimleri Enstitüsü tez yazım kurallarına uygun olarak hazırlandığını bildiririm. Mehmet Yıldırım iv ABSTRACT Master of Architecture THE EFFECTS OF UTOPIC TRANSFORMATION OF THE SHOPPING CENTERS ON FUNDAMENTAL COMPONENTS OF ARCHITECTURAL PROGRAMS Mehmet YILDIRIM TOBB University of Economics and Technology Institute of Natural and Applied Sciences Department of Architecture Supervisor: Assoc. Prof. Murat Sönmez Date: December 2020 This study compares the architectural programs in shopping centers, which are an indispensable element of urban culture, with the programs in the form of a single structure as part of the architectural culture in cities. In this comparison, plan, form, image, and material are accepted as the fundamental components of an architectural program and the findings are presented within the framework of these four components.
    [Show full text]
  • Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture
    Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.
    [Show full text]
  • The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
    The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • The Science of Architecture Representations of Portuguese National Architecture in the 19Th Century World Exhibitions: Archetypes, Models and Images
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UPCommons. Portal del coneixement obert de la UPC Quaderns d’Història de l’Enginyeria volum xiii 2012 THE SCIENCE OF ARCHITECTURE REPRESENTATIONS OF PORTUGUESE NATIONAL ARCHITECTURE IN THE 19TH CENTURY WORLD EXHIBITIONS: ARCHETYPES, MODELS AND IMAGES Paulo Simões Rodrigues [email protected] The influence of positivist philosophy on Portuguese intellectuals became evident from the 1870s. In a very symptomatic way, this influence exerted itself on the dearest values of romantic culture: nationalism. Indeed, it is in texts by authors for whom the positivist doctrine is most discernible that we find nationalist romantic idealism (based on a deitistic or metaphysical transcendence) is progressively replaced by a patriotic spirit rebuilt accord- ing to the parameters of positive science. In other words, it was based on a reading of History that now privileged the impermeable certainty of facts assessed by a methodology taken from natural science. It was believed that on the basis of a positive historiography, nationalism could achieve its main aim since romanticism: the regeneration of the nation – a belief deriving from the primordial objective of the positivist interpretation of social phenomena, the regeneration of societies. Within this context, and as had already been the case with romanticism, art in general and architecture in particular become of fundamental ideological importance as a material, figurative and aesthetic demonstration of the past’s positivist interpretation. It was Hippolyte Taine (1828-1893) who applied the positive scientific method to the arts using Auguste Comte’s theory explaining social phenom- ena as his base.
    [Show full text]
  • The Andean Hybrid Baroque
    BaileyG_FM:Layout 1 8/4/10 1:37 PM Page iii Gauvin Alexander Bailey THE ANDEAN HYBRID BAROQUE Convergent Cultures in the Churches of Colonial Peru UNIVERSITY OF NOTRE DAME PRESS NOTRE DAME, INDIANA © 2010 University of Notre Dame Press BaileyG_FM:Layout 1 8/4/10 1:37 PM Page iv Copyright © 2010 by University of Notre Dame Notre Dame, Indiana 46556 www.undpress.nd.edu All Rights Reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Bailey, Gauvin A. The Andean hybrid baroque : convergent cultures in the churches of colonial Peru / Gauvin Alexander Bailey. p. cm. — (History, languages, and cultures of the Spanish and Portuguese worlds) Includes bibliographical references and index. ISBN-13: 978-0-268-02222-8 (cloth : alk. paper) ISBN-10: 0-268-02222-4 (cloth : alk. paper) 1. Church architecture—Peru. 2. Architecture, Spanish colonial—Peru. 3. Architecture, Baroque—Peru. 4. Sculpture, Peruvian—Themes, motives. 5. Sculpture, Baroque—Peru—Themes, motives. 6. Decoration and ornament, Architectural—Peru—Themes, motives. 7. Decoration and ornament, Baroque— Peru—Themes, motives. I. Title. NA5413.B35 2010 726.50985'0903—dc22 2010024243 ∞ The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. © 2010 University of Notre Dame Press BaileyG_Intro:Layout 1 8/4/10 1:38 PM Page 1 Introduction “Mestizo Style” and Andean Hybrid Baroque In the southern Andes during the last century and a half of colonial rule, when the Spanish Crown was slowly losing its grip on the Americas and Amerindian groups began organizing into activist and increasingly violent political movements, a style of architectural sculpture emerged that remains one of the most vigorous and original outcomes of the meeting of two cultures.
    [Show full text]
  • Conrad Thake
    THE MALTA HISTORICAL SOCIETY Researching, propagating and safeguarding Malta’s historical heritage since 1950 Proceedings of History Week 2013 HistoryWeek of Proceedings Proceedings of History Week 2013 SECOND COLLOQUIUM ON SPANISH-MALTESE HISTORY Edited by Joan Abela – Emanuel Buttigieg – Carmel Vassallo www.maltahistory.eu Proceedings of History Week 2013 Malta Historical Society Influences of the Spanish Plateresque on Maltese Ecclesiastical Architecture Conrad Thake Introduction Most historical accounts of Maltese architecture during the rule of the Order of St John (1530–1798) have to date focused almost exclusively on the influences of contemporary Italian and French architects. This is to be expected, as it is the natural outcome of the direct involvement of a number of Italian and French architects and military engineers who were engaged by the Order to oversee the design and construction of the island’s fortifications. However, given the historical influence exerted by the Aragonese prior to the arrival of the Order and, subsequently, the seminal political influences of both langues of Castile and Aragon during the Hospitaller period, it is worthwhile to explore any tentative relations and historical synergy that could be traced between Spanish and Maltese architecture.1 Back in 1967, during the ‘XV Congress on Architectural History’, the Spanish historian Adolfo Florensa had presented a brief paper entitled ‘L’Architettura di Spagna a Malta’, as part of the theme ‘Architecture in Malta from prehistory to the 19th century’.2 Almost half a century later, it is useful to revisit some of the observations made by Florensa and explore further with a view to establishing the extent and type of relationship, direct or otherwise, which one could draw between Spanish and Maltese architecture with reference to the period of the knights.
    [Show full text]