art history

TIME PERIOD: 1500-1820 MIXING OF INDIGENOUS ART FORMS WITH EUROPEAN; REJECTED BAROQUE INFLUENCE FROM ASIA/AFRICA  PROTRAITS, HISTORY PAINTINGS, GENRE SCENES  SPANISH CREATED WORLD WIDE TRADING EMPIRE; CONNECTED MEXICO TO ASIA; BROUGHT ASIAN SPICES, CERAMICS, SILKS, IVORY; ARTISTIC LIFE BECAME ENRICHED BY THESE CONTACTS  COLONIAL RULE WAS OVER BY 1822; LATIN AMERICA FILLED W/ INDEPENDENT STATES  WORKS FROM NEW SPAIN COMBINE ROMAN CATHOLICISM WITH NATIVE AMERICAN TRADITION USING MATERIALS FROM ASIA  MANY MEXICAN PORTRAITS SHOW MEN IN THE LATEST MADRID STYLES TO PROVE THEIR ARISTOCRACY  HISTORICAL BATTLE SCENES; ARCADIAN LANDSCAPES  OIL TECHNIQUE; NO INTEREST IN PERSPECTIVE; FAVORED FLATTENED SURACE, EARTHEN TONES WORKS CREATED ANONYMOUSLY; IN SERVICE OF RELIGION RATHER THAN FAME; STYLE OF ART SCHOOLS CLOSELY UNITED VOCABULARY:  BIOMBOS: FOLDING FREE-STANDING SCREENS  CASTA PAINTINGS: SHOWED MIXED RACE PEOPLE  ENCHONCHAD...

Spaniard and Indian Produce a Mestizo . Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas. PART OF PINTURAS DE CASTAS, OR CASTE PAINTINGS; DISPLAY FATHER/MOTHER; COSTUME, ACTIVITIES, SETTING ALL AID IN RACIALLY LABELLING THE INDIVIDUALS OF THESE WORKS INTERRACIAL COUPLES, COMMON SUBJECT

The Virgin of Guadalupe   (Virgen de Guadalupe) . Miguel González. c. 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl. MEXICO CITY; REPLICA; MOTHER OF PEARL INLAID INTO WOOD; IRIDESCENT SURFACE; SUGGESTS HEAVENLY AND DIVINE; EMPHASIZE SACREDNESS; SPANIARDS INTENSELY CONVERTING INDIGENOUS PEOPLE; ASHEN SKIN; MEANT TO RELATE TO NATIVES; SYMBOL OF MEXICAN IDENTITY; DECADE AFTER DOWNFALL OF TENOCHTITLAN; TILMA (THREE QUARTER VIEW); HANDS CLASPED; EYES CAST DOWNWARD; ANGELS FRAME PIECE; SYMBOLS OF THE OLD TESTAMENT (LADDER, PALM TREE, SHIP, LILY, FOUNTAIN) ENCONCHADO POPULAR IN 17TH CENTURY MEXICO TINY FRAGMENT OF MOTHER OF PEARL ON A WOODEN CANVAS; THIN GLAZES OF PAINT; MOSAIC

Screen with the Siege of Belgrade and hunting scene . Circle of the González Family. c. 1697–1701 C.E. Tempera and resin on wood, shell inlay. SCREEN WITH A SIEGE OF BELGRADE AND HUNTING SCENE (BROOKLYN BIOMBO) FOLDING SCREEN FROM MEXICO; 1700; COMPLICATED; INSPIRED BY JAPANESE BIOMBOS; MEXICO PART OF VICEROYALTY OF NEW SPAIN; SPAIN CONTROLLED PHILIPPINES, BROUGHT JAPANESE INFLUENCE FROM TRADE; LACQUERWARE BOXES, IVORY GOODS DECORATIVE FLORAL ELEMENTS FRAME PIECE; OWNED BY VICEROY JOSE SARMIENTO DE VALLADARES; HUGE SILVER MINING INDUSTRY, TOBACCO; BATTLE SCENE; HALF OF IT IN MEXICO CITY; CHAOTIC SCENE BETWEEN TURKS, SPANIARDS, OTHER EMPIRES. CONTEMPORARY; BATTLE OF BELGRADE; DELICATE, THIN PAINTING; SHELL INLAY/ENCRUSTED; OIL AND PEARL; MAKES THINGS SHINE (METAL HELMETS); FLORAL MOTIFS; POLITICAL USE TO REPRESENT HIS POWER TO GUESTS; PLACED IN HIS WAITING ROOM OTHER SIDE MORE RELAXED, DECORATIVE; HUNTING/LANDSCAPE SCENE; BOTANICAL MOTIF, BLOSSOMS EUROPEAN/RENAISSANCE/CLAS...

Angel with Arquebus , Asiel Timor Dei . Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas. ANDROGYNOUS ANGELS PRODUCED IN PERU; WIDESPREAD THROUGHOUT ANDES; REPRESENTED CELESTIAL, ARISTOCRATIC AND MILITARY FIGURES SIMULTANEOUSLY; RELIGIOUS FIGURE WITH MODERN WEAPON; SPANISH CONQUISTADOR CLOTHING; HIGHLY DETAILED AND ORNAMENTED; WEAPON PRODUCES LEADING LINES TO FOCUS OF THE PAINTING: THE ANGEL'S FACE

Frontispiece of the Codex Mendoza . Viceroyalty of New Spain. c. 1541–1542 C.E. Ink   and color on paper. ANTONIO DE MENDOZA; FIRST VICEROY OF NEW SPAIN; COMMISSIONED A CODEX TO RECORD INFORMATION ABOUT THE AZTEC EMPIRE; CONTAINED INFO ABOUT THE LORDS OF TENOCHTITLAN; TRIBUTES OF THE AZTECS, ACCOUNTS OF YEARLY LIFE   ARTISTS WERE INDIGENOUS; ANNOTATED BY A SPANISH PRIEST; MEANT TO BE SENT TO CROWN, STOLEN BY FRENCH PIRATES CONTAINS INFO ABOUT AZTEC RELIGION, HISTORY AND CULTURE ORGANIZATION AND FOUNDATION OF AZTEC EMPIRE CAPITAL DIVISION OF COVER MEANT TO MIRROR ORGANIZATION OF THE UNIVERSE IN QUADRANTS; HIERATIC SCALE, GEOMETRIC SHAPES