The idea of this volume emerged after the participation of some of the authors in the workshop “Theoretical Challenges: the historiography of colonial art in the Iberian world”. The main objective of the workshop was to rethink the... more
The idea of this volume emerged after the participation of some of the authors in the workshop “Theoretical Challenges: the historiography of colonial art in the Iberian world”. The main objective of the workshop was to rethink the historiography of colonial art in the Iberian world, especially in the Americas, challenging its theories and categories of analysis: the debates about styles, schools, the problems of authorship and materiality, issues of identity and the relationship between the arts and politics, among others. The texts here deal with these issues from various points of view, but they have a common basis: all discuss the 19th century approaches to colonial art. The nineteenth century becomes a kind of topic (or problem?) associated with the discussion on colonial art and their categories. The relationship between the nineteenth century and the art of the colonial period demands the necessity to remove some misconceptions that have become common in historiography, and propose new ways of understanding the dialectic between local tradition and its relationship with European models- two vital issues for a reflection on the historiography of art in the Americas.
Durante el siglo XIX diversos artistas europeos emprendieron el viaje hacia diferentes puntos del continente americano. Entre ellos, mucho se dedicaron a la litografía, logrando en ciertos casos un amplio éxito comercial. Este artículo... more
Durante el siglo XIX diversos artistas europeos emprendieron el viaje hacia diferentes puntos del continente americano. Entre ellos, mucho se dedicaron a la litografía, logrando en ciertos casos un amplio éxito comercial. Este artículo examina la trayectoria de la artista ginebrina Andrienne Pauline Macaire (1796-1855), dueña junto a su esposo de un temprano emprendimiento litográfico en la ciudad de Buenos Aires. Macaire puede ser considerada la primera artista profesional de renombre activa en esa ciudad. En efecto, es posible diferenciar su trayectoria de las de otras artistas contemporáneas, de las cuales se dispone de menos información y de las que han sobrevivido menos obras. En una primera parte del texto se analiza su inscripción en la literatura artística nacional. A continuación, se describe su formación en Ginebra y se estudia su importante actividad en Buenos Aires, estableciendo conexiones con el panorama artístico local. A lo largo del artículo se presentan obras y fuentes inéditas, o insuficientemente exploradas, a fin de justipreciar su carrera artística y de brindar elementos para futuras investigaciones.
In this article, I analyze Angelo Agostini's art criticism of the Salão de Belas Artes of 1884, in Rio de Janeiro. This critique, published in Revista Illustrada, consisted of both textual production and satirical cartoons.
It proposes a reflection on originality and copy in the art of the early 20th century, based on two South American examples: Two paintings, one by the Argentine Martín Malharro and the other by the Brazilian Eliseu Visconti
In 1854, a group of Mexican writers and artists published a collection of articles and illustrations that portrayed popular racial and social types entitled, Los mexicanos pintados por sí mismos. Produced out of a desire to capture local... more
In 1854, a group of Mexican writers and artists published a collection of articles and illustrations that portrayed popular racial and social types entitled, Los mexicanos pintados por sí mismos. Produced out of a desire to capture local customs, costumes and occupations, Los mexicanos clearly embraced the principles of the costumbrista genre just as it was also indebted to its European predecessors, such as Heads of the People (1840), Les Français peints par eux-mêmes (1841-2) and Los españoles pintados por sí mismos (1843-4). In its carefully orchestrated selection of representations, Los mexicanos reveals how the Mexican literary elite sought to position themselves vis-à-vis other nations during the post-independence period and demonstrates how images of popular racial and social types were important to the formation of a new national subjectivity.
In this article we discuss the claim that outdoor landscape painting was not practiced at the Imperial Academy of Fine Arts in Rio de Janeiro before the 1880s. Based on the analysis of primary sources such as Academy documents and... more
In this article we discuss the claim that outdoor landscape painting was not practiced at the Imperial Academy of Fine Arts in Rio de Janeiro before the 1880s. Based on the analysis of primary sources such as Academy documents and articles published in Rio de Janeiro periodicals, it is proven that this practice has been effective since the mid-nineteenth century. Furthermore, we tried to identify the reasons that led to the idea that there was no outdoor painting in academic production, an idea that was accepted until recently.
A conversation between Ilona Katzew and Peruvian scholar Luis Eduardo Wuffarden about LACMA's recent acquisition of a painting by the19th-century Ecuadorean painter Luis Cadena (1830–1889).
Apresentação do dossiê América Latina: Arte e Paisagem, publicado pela Revista Concinnitas em dezembro de 2012 (http://www.e-publicacoes.uerj.br/index.php/concinnitas/issue/view/843).
Os textos que compõem o dossiê foram produzidos durante a etapa inicial do projeto Unfolding Art History in Latin America, financiado pela Fundação Paul Getty.
(preview; open access full text on journal website) "Gender Iconoclasm and Aesthetics in Esteban Echeverría’s La cautiva and the Captivity Paintings of Juan Manuel Blanes."[Excerpt: article available on Decimonónica website.]... more
(preview; open access full text on journal website) "Gender Iconoclasm and Aesthetics in Esteban Echeverría’s La cautiva and the Captivity Paintings of Juan Manuel Blanes."[Excerpt: article available on Decimonónica website.] Decimonónica, Vol. 12, No. 1, Winter 2015. Abstract: A study about the representation of captivity in nineteenth-century Argentine literature and Argentine and Uruguayan art history.
