Articles and Book Chapters by Cristina González
Beyond the Text: Franciscan Art and the Construction of Religion, 2013
Cultural Convergence in New Mexico: Interactions in Art, History & Archaeology // Honoring William Wroth, eds. Robin Gavin and Donna Pierce (Museum of New Mexico Press), 2021
A Companion to Viceregal Mexico City, 2021
Confraternities, rather than secretive and secluded, were part of the fabric that made up the ric... more Confraternities, rather than secretive and secluded, were part of the fabric that made up the rich tapestry of Baroque art, pageantry, and ritual in Mexico City. This chapter is devoted to the art and visual culture of these lay religious associations. I show that objects were not solely the focus of intense devotion, a veneration that was sometimes critical to salvation, but were also vehicles for the performance of a corporate identity. I consider a range of material—from membership engravings to major altar paintings and miraculous icons—and explore how corporate identity was both constructed with the aid of images and rehearsed by works of art. Keywords: Art History—General, Religious Life, Americas, 16th Century, Confraternities, Marian Icons
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Aesthetic Theology in the Franciscan Tradition, 2020
This book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The ... more This book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach lies in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas that are found in both texts and artifacts.
The Art Bulletin, 2018
Art history has approached female monastic culture in New Spain through the lens of crowned-nun p... more Art history has approached female monastic culture in New Spain through the lens of crowned-nun portraiture, a late colonial genre that reaffirmed a nun’s position as Bride of Christ. This has led to scholarly neglect of the image of a crucified abbess. Rather than a mystical bride, the crucified abbess was presented as an alter Christus. The exploration of an eighteenth-century Mexican portrait illuminates the history of the design and its significance during periods of monastic reform, the relation between pictorial mimesis and religious imitatio, and the anxiety produced by the visual demand for sensorial mortification.
RES: Anthropology and Aesthetics, 2014
RES: Anthropology and Aesthetics, vol. 65/66 (2014/2015).
Center for the Study of Material and Visual Cultures of Religion
Boletín: Journal of the California Mission Studies Association, vol. 25, no. 1 (2008): 5-34.
Reviews by Cristina González
Latin American & Latinx Visual Culture, 2020
Colonial Latin American Review, 2019
Colonial Latin American Review
Hispanic American Historical Review, vol. 95, no. 1 (Feb 2015): 144-5.
Material Religion, vol. 8, no. 1 (July 2012): 258-259
Papers by Cristina González
Colonial Latin American Review, 2015
seeing. Journal of Spanish Cultural Studies 10 (1): 59–73. COPE, R. DOUGLAS. 1994. The limits of ... more seeing. Journal of Spanish Cultural Studies 10 (1): 59–73. COPE, R. DOUGLAS. 1994. The limits of racial domination. Madison: University of Wisconsin Press. DEANS-SMITH, SUSAN. 2009. Dishonor in the hands of Indian, Spaniards, and Blacks: The (racial) politics of painting in early modern Mexico. In Race and classification: The case of Mexican America, eds. ILONA KATZEW AND SUSAN DEANS-SMITH, 43–72. Stanford: Stanford University Press. GRAUBART, KAREN. 2009. The creolization of the New World: Local forms of identification in urban colonial Peru, 1560–1640. Hispanic American Historical Review 89 (3): 471–99. . 2012. ‘So color de una cofradía’: Catholic confraternities and the development of AfroPeruvian ethnicities in early colonial Peru. Slavery & Abolition 33 (1): 43–64. KATZEW, ILONA. 2005. Casta painting: Images of race in eighteenth-century Mexico. New Haven: Yale University Press. MARTÍNEZ, MARÍA ELENA. 2008. Genealogical fictions: Limpieza de sangre, religion, and gender in colonial Mexico. Stanford: Stanford University Press. RAPPAPORT, JOANNE. 2011. ‘Asi lo paresçe por su aspeto’: Physiognomy and the construction of difference in colonial Bogotá. Hispanic American Historical Review 91 (4): 601–31. . 2014. The disappearing mestizo: Configuring difference in the colonial New Kingdom of Granada. Durham: Duke University Press. RESTALL, MATTHEW. 2009. The Black middle: Africans, Mayas, and Spaniards in colonial Yucatan. Stanford: Stanford University Press. TWINAM, ANN. 2015. Purchasing whiteness: Pardos, mulattos and the quest for social mobility in the Spanish Indies. Stanford: Stanford University Press.
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Articles and Book Chapters by Cristina González
https://brill.com/view/title/27224
Reviews by Cristina González
Papers by Cristina González
https://brill.com/view/title/27224
Leticia Squeff, Universidade Federal de São Paulo, São Paulo
Missions and missionaries played a key role in the migration of art objects, materials and technologies, and were also central to the circulation of formal conventions and styles between (and within) the Americas, Asia, Africa, and Europe. Because of this, missions are key in understanding colonial, imperial and global art history.
Missions are not just recipients of foreign visual traditions. In colonial Spanish America, for example, many of them were also important production and distribution centers, permitting the development of exchange networks that complicated center-periphery relations. Among the Guaraní, converts were skilled in the arts of painting, sculpture, and retable making, while in Chiloé, indigenous workshops also produced wooden retablos and sculptures for local churches. Missions were also highly innovative spaces, allowing for interpretation of artistic traditions from Europe and Asia, and experimentation with both local and imported materials and techniques. In Mainas, builders sought to reproduce the appearance of European churches, using palm trees and bricks painted with local pigments to mimic the color and texture of marble and jasper. Objects manufactured by indigenous artisans were also highly valued by collectors in major urban centers. Thus, featherwork ornaments manufactured in the missions of the Brazilian Amazon decorated churches in Belem and Para.
Great attention has been given to Christian missionary art in different parts of the world. However, Islamic missions in Africa and in Asia were also responsible for the dissemination of architectural forms and of calligraphy across a vast geographic space. Likewise, in present times, art continues to play a significant role in missionary work, demonstrating its adaptability to local conditions. This is the case of the recent portraits of Christ employed by members of the Church of the Latter Day Saints, which have been transformed to suit the concerns of believers in Latin America and in Africa.
Thinking about the mission as a contact zone, this session is particularly interested in the mission as a spiritual, architectural, and geographical space that allowed for complex artistic relationships. We are interested in the spread of diverse artistic traditions in a missionary context, but also on interpretations and adaptations of imported aesthetic practices as well as on local artistic production.Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject.
https://www.newberry.org/09302022-attending-women-1100-1800-performance