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4 books about Art, Colonial
4 books about Art, Colonial
Mimesis across Empires
Artworks and Networks in India, 1765-1860
Natasha Eaton
Duke University Press, 2013
In Mimesis Across Empires, Natasha Eaton examines the interactions, attachments, and crossings between the visual cultures of the Mughal and British Empires during the formative period of British imperial rule in India. Eaton explores how the aesthetics of Mughal "vernacular" art and British "realist" art mutually informed one another to create a hybrid visual economy. By tracing the exchange of objects and ideas—between Mughal artists and British collectors, British artists and Indian subjects, and Indian elites and British artists—she shows how Mughal artists influenced British conceptions of their art, their empire, and themselves, even as European art gave Indian painters a new visual vocabulary with which to critique colonial politics and aesthetics. By placing her analysis of visual culture in relation to other cultural encounters—ethnographic, legislative, diplomatic—Eaton uncovers deeper intimacies and hostilities between the colonizer and the colonized, linking artistic mimesis to the larger colonial project in India.
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New World Objects of Knowledge
A Cabinet of Curiosities
Edited by Mark Thurner and Juan Pimentel
University of London Press, 2021
A stunning, richly illustrated hardback cataloging key artifacts from across Latin American art, nature, and history.
From the late fifteenth century to the present day, countless explorers, conquerors, and other agents of empire have laid siege to the New World, plundering and pilfering its most precious artifacts and treasures. Today, these natural and cultural products—which are key to conceptualizing a history of Latin America—are scattered in museums around the world.
With contributions from a renowned set of scholars, New World Objects of Knowledge delves into the hidden histories of forty of the New World’s most iconic artifacts, from the Inca mummy to Darwin’s hummingbirds. This volume is richly illustrated with photos and sketches from the archives and museums hosting these objects. Each artifact is accompanied by a comprehensive essay covering its dynamic, often global, history and itinerary. This volume will be an indispensable catalog of New World objects and how they have helped shape our modern world.
From the late fifteenth century to the present day, countless explorers, conquerors, and other agents of empire have laid siege to the New World, plundering and pilfering its most precious artifacts and treasures. Today, these natural and cultural products—which are key to conceptualizing a history of Latin America—are scattered in museums around the world.
With contributions from a renowned set of scholars, New World Objects of Knowledge delves into the hidden histories of forty of the New World’s most iconic artifacts, from the Inca mummy to Darwin’s hummingbirds. This volume is richly illustrated with photos and sketches from the archives and museums hosting these objects. Each artifact is accompanied by a comprehensive essay covering its dynamic, often global, history and itinerary. This volume will be an indispensable catalog of New World objects and how they have helped shape our modern world.
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Object and Apparition
Envisioning the Christian Divine in the Colonial Andes
Maya Stanfield-Mazzi
University of Arizona Press, 2013
When Christianity was imposed on Native peoples in the Andes, visual images played a fundamental role, yet few scholars have written about this significant aspect. Object and Apparition proposes that Christianity took root in the region only when both Spanish colonizers and native Andeans actively envisioned the principal deities of the new religion in two- and three-dimensional forms. The book explores principal works of art involved in this process, outlines early strategies for envisioning the Christian divine, and examines later, more effective approaches.
Maya Stanfield-Mazzi demonstrates that among images of the divine there was constant interplay between concrete material objects and ephemeral visions or apparitions. Three-dimensional works of art, specifically large-scale statues of Christ and the Virgin Mary, were key to envisioning the Christian divine, the author contends. She presents in-depth analysis of three surviving statues: the Virgins of Pomata and Copacabana (Lake Titicaca region) and Christ of the Earthquakes from Cusco.
Two-dimensional painted images of those statues emerged later. Such paintings depicted the miracle-working potential of specific statues and thus helped to spread the statues’ fame and attract devotees. “Statue paintings” that depict the statues enshrined on their altars also served the purpose of presenting images of local Andean divinities to believers outside church settings.
Stanfield-Mazzi describes the unique features of Andean Catholicism while illustrating its connections to both Spanish and Andean cultural traditions. Based on thorough archival research combined with stunning visual analysis, Object and Apparition analyzes the range of artworks that gave visual form to Christianity in the Andes and ultimately caused the new religion to flourish.
Maya Stanfield-Mazzi demonstrates that among images of the divine there was constant interplay between concrete material objects and ephemeral visions or apparitions. Three-dimensional works of art, specifically large-scale statues of Christ and the Virgin Mary, were key to envisioning the Christian divine, the author contends. She presents in-depth analysis of three surviving statues: the Virgins of Pomata and Copacabana (Lake Titicaca region) and Christ of the Earthquakes from Cusco.
Two-dimensional painted images of those statues emerged later. Such paintings depicted the miracle-working potential of specific statues and thus helped to spread the statues’ fame and attract devotees. “Statue paintings” that depict the statues enshrined on their altars also served the purpose of presenting images of local Andean divinities to believers outside church settings.
Stanfield-Mazzi describes the unique features of Andean Catholicism while illustrating its connections to both Spanish and Andean cultural traditions. Based on thorough archival research combined with stunning visual analysis, Object and Apparition analyzes the range of artworks that gave visual form to Christianity in the Andes and ultimately caused the new religion to flourish.
[more]
Rubens in Repeat
The Logic of the Copy in Colonial Latin America
Aaron M. Hyman
J. Paul Getty Trust, The, 2021
Winner of the Latin American Studies Association's 2022 Best Book in Colonial Latin American Studies.
This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.
Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.
This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.
Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.
[more]
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