The First History of Latin American Art

1946 ◽  
Vol 2 (03) ◽  
pp. 357-368
Author(s):  
Robert C. Smith

Students of Latin American art of the colonial period will agree that this book, which deals with the development of architecture in Spanish America during the sixteenth century, is the most important analysis of the subject that has yet been made. Prepared with the assistance of the Spanish government and the cooperation of private investigators and government agencies in Latin America, this book is the first of a series of volumes which, it is to be hoped, will eventually present the whole history of Hispanic American art. It brings together for the first time a mass of factual information taken from source material of the period concerning the earliest monuments of Spanish building from Mexico to BoliVia and interprets it in the light of Spanish architecture of the time with a knowledge and an attention to detail never before applied on such a scale. Almost without exception every building mentioned is fully illustrated, plans of the more important are provided, together with diagrams of variant architectural details such as moldings, bases and arches, and whenever possible contemporary architect’s drawings from the Archivo de Indias in Seville are submitted as well. Although a good deal of this material had previously been published in one form or another, there is much that had not been, especially in the chapters devoted to South America. The work therefore goes beyond the mere compilation of facts already recorded and presents a whole series of new monuments on the basis of original investigation.

1946 ◽  
Vol 2 (3) ◽  
pp. 357-368 ◽  
Author(s):  
Robert C. Smith

Students of Latin American art of the colonial period will agree that this book, which deals with the development of architecture in Spanish America during the sixteenth century, is the most important analysis of the subject that has yet been made. Prepared with the assistance of the Spanish government and the cooperation of private investigators and government agencies in Latin America, this book is the first of a series of volumes which, it is to be hoped, will eventually present the whole history of Hispanic American art. It brings together for the first time a mass of factual information taken from source material of the period concerning the earliest monuments of Spanish building from Mexico to BoliVia and interprets it in the light of Spanish architecture of the time with a knowledge and an attention to detail never before applied on such a scale. Almost without exception every building mentioned is fully illustrated, plans of the more important are provided, together with diagrams of variant architectural details such as moldings, bases and arches, and whenever possible contemporary architect’s drawings from the Archivo de Indias in Seville are submitted as well. Although a good deal of this material had previously been published in one form or another, there is much that had not been, especially in the chapters devoted to South America. The work therefore goes beyond the mere compilation of facts already recorded and presents a whole series of new monuments on the basis of original investigation.


Author(s):  
Tom Cummins

The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the apparitions and the forging of the image, he discovers that it directly influenced the consolidation of the Colombian devotion. According to Cummins, the parallelisms between the Mexican and the Colombian myths reveal, among other issues, that both represent a national religious movement opposed to the Peninsular Spaniards and with an impact beyond the Creoles that embraced and adopted the image.


2005 ◽  
Vol 30 (3) ◽  
pp. 33-36
Author(s):  
Taína Caragol

This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.


2014 ◽  
Vol 39 (4) ◽  
pp. 21-26
Author(s):  
Ranieli Piccinini

In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.


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