New Spain Study Guide PDF

The Art of NEW SPAIN Spanish Colonies in the Americas 1500 - 1820 CE Link to your New Spain Study Guide Vocabulary New Spain tilma (native cloak) criollos (creoles) frontispiece seraph posthumously viceroyalty mother of pearl escudo codex enconchado arquebus Antonio Mendoza biombo (byobu) missionizing Mexica transcultural exchange subjugation Mexican Baroque Habsburg Dynasty Asiel Timor Dei Virgin de Guadalupe castas Juan Diego mestizo Essential Knowledge The Art of New Spain European Baroque Drama! Multicultural Subject Matter Inﬂuence 17th Century art can be Mixing of indigenous art In addition to Latin American characterized by a taste forms with European religious subjects, colonial art closely for the theatrical and a formulas and materials. there are other types aligns with art stress on movement and of paintings, production from compositional variety. We also see an inﬂuence including portraits, Spain and the rest of Many artists experiment from Asia and Africa. history paintings, and southern Europe. with psychological and genre scenes. emotional portrayals. New Spain: Mexico Video - 1st 7 minutes #81. The Frontispiece of the Codex Mendoza C. 1541- 1542, pigment on paper Smarthistory article on this piece Who commissioned this? Why? Who made it? What is the content of the frontispiece? Commissioned by the 1st Viceroy of Spain (Mendoza) 20 years after the Conquest, illustrated by indigenous people. Intended to aid the spanish monarch in understanding his new subjects. The Frontispiece describes the foundation of Tenochtitlan through a schematic diagram. It shows the wealth, power, and prestige of the Aztecs, while also showing respect for the gods. The inclusion of Aztec year glyphs and other Aztec glyphs and the recording of important historical events from the history of the Aztec empire in the traditional Aztec style might also have been an expression of indigenous pride by the artists who created the work and might have been a way to preserve elements of their culture and history, records of which were mostly destroyed by the Spanish conquerors. Mexican Baroque Mexican Baroque refers to the baroque era during the Colonial Mexican period which lasted from 1521-1821 under 'New Spain'. During this period, artists of New Spain experimented with expressive, contrasting, and realistic creative approaches, making art that became highly popular in New Spanish society. Among notable artworks are polychrome sculptures, which as well as the technical skill they display, reﬂect the expressiveness and the colour contrasts characteristic of New Spanish Baroque. Baroque reredos of Church of San Ángel,Colonia San Ángel, Delegación Álvaro Obregón Mexican Baroque Spanish Baroque Italian Baroque Virgin of Guadalupe The original Virgin of Guadalupe, 16th century, oil and possibly tempera on maguey cactus cloth and cotton (Basilica of Guadalupe, Mexico City) Many people consider the original image of Guadalupe to be an acheiropoieta, or a work not made by human hands, and so divinely created Loving mother. Devoted wife. Ideal woman. Queen of Heaven. Who could ever be this perfect? For Christians, the Virgin Mary carries all these titles, and she is often celebrated in art as a mother, wife, and queen. With Spanish colonization of the Americas, devotion to the Virgin Mary crossed the Atlantic. The Virgin of Guadalupe: Smarthistory video & essay. 95. Virgin of Guadalupe Miguel González, 1698 CE Oil on canvas on wood with Mother-of-pearl What is Mother of Pearl? Mother of pearl is the term used for the iridescent substance that forms the inner layer of the shell of some mollusks (like mussels and oysters) The Holy Spirit (as a dove) hovers above the Virgin’s head Guadalupe averts her gaze and clasps her hands together in piety. She wears the crown of Heaven on her head. She stands on a crescent moon, and is partially supported by a seraph (holy winged-being) below. Eagle perched on a cactus (under Mary’s feet) The story of Juan Diego is found in the four corners The Virgin of Guadalupe is now a national symbol for Mexico. #94. Screen with the Siege of Belgrade (front) and a hunting scene (reverse) C. 1607-1701 CE Oil on wood with inlaid mother of pearl The siege of Belgrade was a successful attempt by Austrian troops under the command of Prince Eugene of Savoy (Habsburg troops) to capture the strategically important city of Belgrade from the Ottoman Empire. It took place during the Austro-Turkish War (1716–1718), barely a year after the Austrian victory at the Battle of Petrovaradin (Peterwardein). The Austrians routed the Ottoman relief army under Grand Vizier Hacı Halil Pasha on 16 August. As a consequence, the Belgrade garrison, deprived of relief, surrendered to the Austrians on 21 August. The Ottoman Sultan Ahmed III sued for peace, resulting in the Treaty of Passarowitz a year later, which completed the transfer of the remainder of Hungary, the Banat and the city of Belgrade into Austrian hands Biombo screen at the DMA Oil on canvas, pine and gilding c. 1740–1760 The Eight Immortals of the Wine Cup, Momoyama period, c. 1600, Japan, ink and pigment on gold; pair of six-fold screens, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. 1989.78.a-b.McD The folding screen, or biombo, is a unique furniture form which developed as an adaptation of Japanese screens in colonial Mexico. This fusion of luxury goods reﬂect the colonial elite taste for Japanese byobu, or folding screens. https://blog.dma.org/tag/japan/ Byobu are moveable multi-panel screens that serve as supports for painting, and which are documented in Japan since the 7th century CE. They first arrived in the colonial viceroyalty of New Spain in 1614, when the Japanese shogun Takugawa Ieyasu sent ten examples as gifts to the viceroy. Greatly impressed with the byobu, the elite began ordering screens both from Asia and from local workshops for use in their own homes. Colonial artists adapted the format of the Japanese screens using their own materials, techniques, and visual vocabularies, which resulted in the biombo, a moveable screen with wooden or canvas panels. In addition to reflecting the international trade of the Bourbon period, biombos are also prestige objects that reflect the identity and politics of the criollo caste in New Spain—that is, those of European descent who were born in the Americas. Made for a Palace Created for viceroy José Sarmiento de Valladares, the count of Moctezuma, the folding screen was likely made for his palace—which still rests on the main plaza or zócalo of Mexico City. Less than a decade before his 5-year reign, the viceregal palace had been burned and partly destroyed after uprisings over food shortages in 1692. After Sarmiento de Valladares became the viceroy, he began to rebuild the palace, and needed new furnishings for the space. This lavish folding screen, with the added opulence of mother-of-pearl inlay, was likely made to help in this process of refurbishment, along with many other luxurious items. What a statement it would have made to guests who viewed it! Battle Scene vs. Hunting Scene Chaos: Battle Scene A chaotic battle scene unfolds across six panels of a folding screen. The seemingly endless amount of human bodies, animals, weapons, and buildings are difﬁcult to differentiate without careful, slow looking. On land and sea, the battle scene pits countless warriors against one another in violent conﬂict. Fallen soldiers spill over the side of a boat into the water, with body parts ﬂoating around the vessel. Canons shoot, lances impale, swords are raised, heads appear on pikes—all these details emphasize the horrors of war. Short, descriptive Spanish inscriptions on the screen, such as “Barcas cogidas en el Danubio” (boats caught on the Danube River), guide viewers. Hunting Scene The other side shows no sense of violent conﬂict between warring forces, but rather is a hunt set in a bucolic forest. Vines, garlands, and more ﬂowers adorn the screen’s edges on both sides. Further animating both scenes is the varied color palette, fanciful brushwork, and use of inlaid shell (here, mother of pearl). The hunting scene is not completely free of violence though; a spotted feline attacks a fallen hunter, and is itself about to be speared by three men on horseback. Another big cat pounces on a surprised hunter on horseback. Dogs aid hunters in tracking animals. Still, the scene is largely focused on large trees, rolling hills, and delicately painted plants and ﬂowers. Global Connections In 1604, the poet Bernardo de Balbuena wrote about Mexico City that “In thee Spain and China meet, Italy is linked with Japan, and now, ﬁnally, a world united in order and agreement.” He wrote that Mexico City, capital of the viceroyalty of New Spain, had become a cosmopolitan linchpin between Asia and Europe, prospering as a result of a global trade system. The arts focused on this transcultural exchange, offering visually captivating objects that attest to the impact of cultural interchange. This folding screen perfectly encapsulates the cosmopolitanism of colonial Mexico and its art, and the may ways that local artists borrowed from and adapted materials, forms, and subjects from near and far to create something new. It also provides a window onto several #94. Screen with the Siege of Belgrade (front) and a hunting scene (reverse) important themes: transpaciﬁc and transatlantic trade, C. 1607-1701 CE elite and nonreligious objects, and visual Oil on wood with inlaid mother of pearl transculturalism. Bonus art: 17th century Cabinet Cabinet of Curiosities @ the DMA 1680–1700 The original owner of the cabinet Mahogany, mother-of-pearl, ivory and tortoiseshell appears to have been Don Melchor Portocarrero, third count of Monclova and viceroy of New Spain (1686–88), who subsequently became viceroy of Peru (1689–1715). It is likely that the count commissioned the piece during his tenure as viceroy. Probably made in the Portuguese settlement of Goa, India, the cabinet crossed the Indian Ocean to Manila, in the Spanish Philippines. Finally, the cabinet crossed the Paciﬁc to arrive in New Spain's capital, Mexico City. Set within the mother-of-pearl double-headed eagle crest symbolizing Spain's Habsburg dynasty is the painted coat of arms for Peru's Tagle family, who inherited the monumental piece in the late 18th century. What would make people from Europe immigrate to the Americas in the early days? People from all over the world were melting together... Europe (France, Spain, England, Portugal, Germany, the Netherlands) Africa Asia Free people of color, depicted in this drawing of Haitian Creoles, existed throughout French colonies in the Western Hemisphere. Interesting Article on The Louisiana Creole Connection Castas Paintings In a new society made of indigenous people, Africans and Europeans, how do you describe the mixing of races and their offspring? WATCH THIS VIDEO: CASTA PAINTINGS Spanish societal hierarchy with the European ancestry at the top; sixteen different gradations on the social side Spanish blood linked to civilizing forces; wearing lavish costumes Africans and Indigenous Americans were rendered with respect; showing harmony and mixing of the classes #97. Spaniard and Indian Produce a Mestizo Attributed to Juan Rodriguez C. 1715 Oil on canvas Smarthistory Article A Spanish gentleman married an indigenous woman and produced a mestizo, who is carries on the back of a servant Many Africans and Indians are rendered with Southern European features: slim noses, curly hair, almond-shaped eyes #97. Spaniard and Indian Produce a Mestizo Attributed to Juan Rodriguez C. 1715 Oil on canvas Function Spanish colonists commissioned these works to be sent abroad to show the caste system of the New World. Not considered art objects but illustrations of ethnic groups. Context: Panels from the ﬁrst known series of casta paintings; may not have been a completed set. Castas painting at the Dallas Museum of Art Apache Indians castas painting (c. 1780) by Ramon Torres at Dallas Museum of Art. Dallas, TX. Sor Juana Ines Writer, Activist, Women's Rights Activist, Nun 1651- 1695 Sor Juana Inés de la Cruz was a 17th century nun, self-taught scholar and acclaimed writer of the Latin American colonial period and the Hispanic Baroque. She was also a staunch advocate for women's rights. She was born to an (indigenous) unwed mother, and a Spanish military father (making her a mestizo). Raised by a single mom, she was part of a poor but educated family. She spend much of her childhood reading at her grandfather’s hacienda. By her teens she was mastering Greek logic and beginning to teach other children. Unable to attend university because she was female, when she moved to Mexico City to stay with her mother she continued to study by herself. She was a child prodigy and was known for her intellect even as a teenager. By the age of 17 she was even seen somewhat of a celebrity because of her level of learning and scholarly knowledge. Her reputation grew and she was the subject of several marriage proposals which she rejected, opting instead for the life of a nun in a local monastery. She began her life as a nun in 1667 so that she could study at will. After taking her vows, Sor Juana read tirelessly and wrote plays and poetry, often challenging societal values and becoming an early proponent of women's rights. Sor Juana is heralded for her Respuesta a Sor Filotea, which defends women's rights to educational access, and is credited as the ﬁrst published feminist of the New World. Portrait of Sister Juana Ines de la Cruz by Andrés de Islas, 1772 (77 years after Sor Juana Ines died) - probably based on the painting by Miguel Cabrera or by “I do not study in order to write, nor far less in order to teach (which would be boundless arrogance in me), but simply to see whether by studying I may become less ignorant. This is my answer, and these are my feelings....” -Sor Juana Inés Left: Miguel Cabrera, Portrait of Sor Juana Ines, Oil on Canvas, 1750 CE Right: Portrait by Juan Miranda c. 1713 Located in the Palace of Fine Arts, Mexico Sor Juana passed in 1695, so both portraits were done posthumously. Portrait of Sor Juana Ines de la Cruz This portrait was made by the Mexican artist Miguel Cabrera. He never actually met sor Juana, so he likely based his image of her on earlier portraits of her, possibly even some self-portraits. Cabrera likely modeled this painting on images of male scholars seated at their desks. Antonio da Fabriano II, Saint Jerome in his Study, 1451, tempera, oil (?) and gold leaf on wood panel, (The Walters Art Museum) https://www.thinglink.com/scene/11497494 Miguel Cabrera, Portrait of Sor Juana Ines, 16396062723 Oil on Canvas, 1750 CE Escudo She also wears an escudo de monja, or nun’s badge, on her chest underneath her chin. Escudos de monja were often painted, occasionally woven, and they usually displayed the Virgin Mary. Sor Juana’s escudo shows the Annunciation, the moment in which the archangel Gabriel informs Mary that she will bear the son of God. escudo Miguel Cabrera, Portrait of Sor Juana Ines, Oil on Canvas, 1750 CE Artist: Miguel Cabrera Above: Casta painting by Miguel Cabrera Español e India, Mestizo. 1763. Right: Miguel Cabrera, Saint Gertrude (Santa Gertrudis), 1763, oil on canvas Sor Juana Ines today Equivalent to our $10 bill Up Next: Guns & Fashion in South America The End of New Spain New Spain was established after the 1521 conquest of the Aztec Empire. Ofﬁcially set up by the King of Spain in 1535, Antonio de Mendoza was the 1st Viceroy of New Spain. New Spain territory at its height in The Mexican War of Independence lasted from 1810–1821. At its conclusion in 1821, the viceroyalty was dissolved and the Mexican Empire was established. Former royalist military ofﬁcer turned insurgent for independence Agustín de Iturbide would be crowned as emperor. Viceroyalty of Peru The Viceroyalty of Peru was set up in 1542. It included the entire western coast of South America, and includes current day Peru, Chile, Colombia, Panama, Ecuador, Bolivia, Paraguay, Uruguay and Argentina. The capital was set up in Lima, Peru (Cusco was too difficult to get to, and since it was inland, didn’t offer easy access to shipping). The arquebus, derived from the German word Hakenbüchse, was a form of long gun that appeared in Europe and the Ottoman Empire during the 15th century. It was the ﬁrst gun ﬁred from the shoulder, and it resembles a riﬂe. Later it was replaced by https://www.thinglink.com/scene/1149754337891713027 the musket. Jacob de Gheyn - Exercise of Arms, 1608 (Soldiers, Weapons & Uniforms 600) Prints from the 1607 series, The Exercise of Arms, by the Dutch Mannerist engraver Jacob de Gheyn, may have inspired paintings such as Asiel Timor Dei. These prints were models for speciﬁc military positions and demonstrated how to ﬁre a gun. Calm, Cool and Collected However, the Andean paintings differ from the prints, since they combine local dress and do not present realistic military positions. The angel in Asiel Timor Dei holds the gun like a professional, close to his chest. Although the gun is ready for ﬁring, the angel does not hold the trigger, nor does he hold it at eye level Unlike a soldier, the face of the angel is serene. The ﬁgure is graceful and almost looks like a dancer. The extended lines of the angel’s body recall the Mannerist style still preferred in the Americas in the seventeenth century (Mannerism was a style that came after the Renaissance, in the early 1500s) #90. Angel with Arquebus, Asiel Timor Dei, Master of Madonna of the Long Neck, Parmigiano, 1534 Calamarca, c. 1680 CE, Representing celestial, aristocratic, and military beings all at once, these angels were created after the ﬁrst missionizing period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism. Qorikancha Cuzco, Peru Inka Temple built around 1440 CE Catholic Convent added 1550-1650 CE Remember this? The Spanish purposefully built a chapel (Santo Domingo convent) on top of a sacred Inka temple to the Sun, the Qorikancha (“golden enclosure”). The ﬁnely cut masonry and trapezoidal windows of the original Inka structure became juxtaposed with the convent’s Baroque architectural ﬂourishes modeled on European churches. The placement of a Spanish Christian structure atop a decapitated Inka temple is a symbolic act of power and subjugation. #90. Angel with Arquebus, Asiel Timor Dei, Master of Calamarca, c. 1680 CE, oil on canvas Thought to have been done in Bolivia, these were popular in S. America. Androgynous Angel depicted with an arquebus instead of a traditional sword, a weapon brought by the Spanish to the New world. Latin inscription: “Asiel Timor Dei” = fear of God Military poses derived from European engravings of military exercises. Drapery of a 17th C. spanish aristocrat; rich costuming Elongated hat with feathers is a feature of dress of Inkan nobility https://www.thinglink.com/scene/1149754337891713027 The angel’s clothing has real gold attached to the surface of the painting. The idea of reﬂected light was seen as sacred to the indigenous people of this area (South America - Bolivia, Peru). 162. All-T’oqapu tunic, Inka, 1450-1540 CE, camelid ﬁber and cotton - Remember: Beautiful fabrics had been important to the Inka and other South American peoples before the Spanish Conquest. #90. Angel with Arquebus, Asiel Timor Dei, Master of Calamarca, c. 1680 CE, In Angel with Arquebus, Asiel Timor Dei, the Master of Calamarca (La Paz School) has posed the ﬁgure of the angel with a Spanish ﬁrearm most likely to suggest the protective power of angels as divine defenders of the Catholic faith. Images of armed angels became common during the Catholic Counter-Reformation, highlighting the belief that the Church would spiritually protect its faithful adherents. In the Americas, speciﬁcally in the Viceroyalty of Peru, this genre of painting would most likely have suggested the power of the Catholic Church and its protective dominion over the faithful, both European and indigenous peoples. #90. Angel with Arquebus, Asiel Timor Dei, Master of Calamarca, c. 1680 CE, Citations Cite this page as: Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker, "New Spain, an introduction," in Smarthistory, February 24, 2017, accessed February 10, 2019, https://smarthistory.org/new-spain/. https://smarthistory.org/new-spain/ https://www.youtube.com/watch?v=O-DKc4i5bIQ https://www.thinglink.com/scene/1149749389112115203 https://smarthistory.org/expanding-the-renaissance/ https://smarthistory.org/screen-with-the-siege-of-belgrade-and-hunting-scene-or-brooklyn-biombo/ https://smarthistory.org/virgin-of-guadalupe/ https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/colonial-americas/a/spaniard-and-indian- produce-a-mestizo-attributed-to-juan-rodriguez https://www.youtube.com/watch?v=YK3tM69V6Cg https://www.thinglink.com/scene/1149749416396062723 https://www.biography.com/people/sor-juana-in%C3%A9s-de-la-cruz-38178 https://collections.dma.org/artwork/5033287 https://collections.dma.org/artwork/5328501 https://collections.dma.org/artwork/4245647 https://collections.dma.org/artwork/4245647 https://www.biography.com/writer/sor-juana-ines-de-la-cruz http://dvillepress.com/styled-3/About.php#:~:text=Contrary%20to%20the%20Louisiana%20deﬁnition,centuries%20as%20a%20Spanis h%20colony. https://www.lagunapearl.com/blog/2019/02/13/what-is-mother-of-pearl/ https://smarthistory.org/expanding-the-renaissance/

New Spain Study Guide PDF

Document Details

Tags

Related

Summary

Full Transcript