scholarly journals OJEDA, Almerindo. Project for the Engraved Sources of Spanish Colonial Art (PESSCA), 2005-2021.

2021 ◽  
Vol 6 ◽  
pp. 277-282
Author(s):  
Almerindo E. Ojeda
Keyword(s):  
Spanish Colonial ◽  
Colonial Art

El Proyecto para el Estudio de las fuentes grabadas del arte colonial (PESSCA por sus siglas en inglés) busca identificar los grabados que sirvieron de modelos al arte producido en las colonias hispano-portuguesas de los siglos XVI y XIX. PESSCA es parte las Humanidades Digitales, pues es un proyecto humanístico que emplea herramientas digitales. Y lo hace en todas las fases de la investigación (búsqueda, adquisición, almacenamiento, procesamiento, y recabación de imágenes, así como la difusión, actualización, y preservación de sus hallazgos). A futuro, PESSCA busca desarrollar un sistema de reconocimiento automático de imágenes que asista en el descubrimiento de los grabados que inspiraron obras de arte coloniales, quizás empleando sistemas de reconocimiento facial o anotación automática de imágenes.

scholarly journals Cuzco School Painting (Esquela Cusqueña) as a Manifestation of Andean Identity in the Past and Present

2019 ◽  
Vol 67 (4 SELECTED PAPERS IN ENGLISH) ◽  
pp. 33-57
Author(s):  
Ewa Kubiak
Keyword(s):  
Regional Identity ◽  
Field Research ◽  
Spanish Colonial ◽  
Colonial Legacy ◽  
The Past ◽  
Colonial Art ◽  
Polish Version ◽  
The City

The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). Painting of the Cuzco school developed in the city proper and in the Cuzco region in the 17th and 18th centuries. Its influence was not limited to this area; information about the presence of paintings from Cuzco in distant regions of the Viceroyalty of Peru can be found in numerous sources. The tradition which acknowledged Cuzco painting to be a manifestation of cultural mestization is extremely strong. We can easily point at Spanish (colonial) as well as native (Indian) features in both formal and semantic aspects of representations. However, Cuzco painting is not a matter of the past; nowadays there are still studies which produce neo-Baroque pictures, stylistically imitating old paintings. I would like to present neo-Baroque canvas and subsequent stages of work on them, using field research from 2013 and photographs taken in Galería de Artesanía “Fenix” in Cuzco, run by Luis Alfredo Pacheco Venero. What is important in the summary is reflections on cusqueñismo, a phenomenon typical of the city since the 1920s and wondering whether within its scope there is a place not only for the Inca tradition but also for colonial art. Modern search for regional identity is not limited to the pre-Columbian era, but more and more often highly assesses the colonial legacy.

Cambios: The Spirit of Transformation in Spanish Colonial Art

Ethnohistory ◽  
1995 ◽  
Vol 42 (2) ◽  
pp. 351
Author(s):  
Jeanette Favrot Peterson ◽  
Gabrielle G. Palmer ◽  
Donna Pierce
Keyword(s):  
Spanish Colonial ◽  
Colonial Art

Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art

2013 ◽  
Vol 47 (2) ◽  
pp. 339-362
Author(s):  
STEPHANIE LEWTHWAITE
Keyword(s):  
Native American ◽  
Latin American ◽  
Pop Culture ◽  
Circuit Board ◽  
Spanish Colonial ◽  
New Mexican ◽  
Mexican Art ◽  
Colonial Art ◽  
Intercultural Encounters ◽  
Traditional Artists

During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

The Spanish Colonial Art Museum of Guatemala

1956 ◽  
Vol 9 (1) ◽  
pp. 18-27 ◽  
Author(s):  
Stephan F. Borhegyi
Keyword(s):  
Art Museum ◽  
Spanish Colonial ◽  
Colonial Art

Spanish Colonial Art in the California Missions

1989 ◽  
Vol 18 (1) ◽  
pp. 33-54 ◽  
Author(s):  
Kurt Baer
Keyword(s):  
Middle Ages ◽  
Arts And Crafts ◽  
Stained Glass ◽  
Spanish Colonial ◽  
The Arts ◽  
The People ◽  
Colonial Art ◽  
California Missions ◽  
History Of ◽  
Entire History

Art work throughout almost the entire history of the Church has been primarily didactic. Man was taught through the arts of sculpture, painting, mosaic, and stained glass, all that he should know of the creation of the world, the dogmas of religion, the virtues, the hero-saints, and during the middle ages especially, the range of the sciences, the arts and crafts. Thus, in the latter half of the eighteenth century when the Franciscans came to the remote outposts in California, they brought with them the pictures and statues by which the simple and ignorant Indian might learn, through his eyes, much of what he was to know of his new faith. “Through the medium of art the highest conceptions of theologian and scholar penetrated to some extent the minds of even the humblest of the people.”

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