- Year of publication: 2016
- Source: Show
- Pages: 3-5
- DOI Address: -
Mujeres y arte en el periodo colonial, arte moderno y tiempo presente en México, Perú y Brasil – introducción
Women and art in the colonial period, modern art and contemporary times in Mexico, Peru and Brazil – introduction
Kobiety i sztuka w okresie kolonialnym, sztuce nowoczesnej i czasach współczesnych w Meksyku, Peru i Brazylii – wprowadzenie
Art and patrimony of the Dominicans in Peru and New Spain. Two particular cases: Oaxaca and Cusco
The art, architecture and heritage of nunneries in Latin America suffer from a lack of studies as well as a methodological update. Such shortages are even more serious in the case of the Dominican. In this article I offer a first approach to the analysis of art, architecture and heritage of two Dominican nunneries, in Oaxaca and Cusco. I will adopt a necessary comparative approach, which allows us to reconstruct and understand the architecture and objects and images-often scattered and decontextualized in museums – adopting also a gender perspective, to reassess the role of women in all these issues. As will be seen, the different historical circumstances and the various policies pursued in the preservation of their heritage are critical.
Mystical marriage of Santa Rosa de Santa María. Monarchical alliance with the Indies (17th and 18th centuries)
This paper is preliminary study of the complex item of mystic marriage of saint Rose of Lima. This devotion was very spread since her beatification (1668) until 18th century. For its dissemination, the representation’s number was huge. This included the iconography. The characteristics of knowledge of this time allowed a varied education and this influenced the understanding of the scene of this mystic marriage, besides in its circulation and spread in Rose’s devotes in Latin America. Although of education limitations of Rose’s devotes, all understood that Rose was a privileged wife of Christ. All wished to follow her life that was a model of being good Christians and perfect vassals.
Flowers of an Indian paradise. Reflection on effigies of “venerable mothers” of New Spain
The article is devoted to the effigies of nuns-mystics whose portraits became an extraordinary phenomenon in the art of the viceroyalty. As the author writes, in recent years we have witnessed significant development of studies on nun’s portraits, present in the art of viceroyalties: New Spain, Peru and New Granada. This phenomenon became the most characteristic element of the eighteenth-century art. The author focuses on portraits of those who have rendered great service to religious life in New Spain: effigies of the “venerable mothers”. They were considered by their contemporaries to be role models and their portraits were painted in an idealized way.
Fanny Rabel: artista posrevolucionaria
Fanny Rabel fue una conocida artista mexicana de origen polaco. Ella realizó sus obras artísticas en varias técnicas: la pintura mural, la pintura de caballete, grabado y escenografía. Rabel fue una discípula de Frida Kahlo, Diego Rivera y David Alfaro Siqueiros. En este artículo hemos presentado sus obras artísticas en el contexto de su vida y la situación histórica de México (posrevolucionaria). Rabel dio sus primeros pasos artísticos como una pintora realista de la Escuela Mexicana de Pintura. Después encontró su propio estilo expresivo y su propia temática. Sus trabajos siempre tenían una estrecha relación con los problemas sociales presentes en la vida mexicana. Artista centró su interés especial en la situación social de las mujeres y la comentó a través de sus obras.
The article presents a Spanish artist, Remedios Varo. Although her artistic output usually remains on the margins of the analysis of surrealism, presence of this trend may be demonstrated not only in her paintings surrounded by the aura of uniqueness, but also in certain episodes from her life. Not only did the artist surround herself with surrealists, create paintings in which she contrasted people and objects in a surprising and impossible way, but she also took part in fantastic undertakings, such as a failed expedition made to find gold in the Orinoco waters. Also her fascination with the works of past masters (Bosch or El Greco) are understandable, as she was strongly rooted in the surrealist worldview and aesthetics. In her case, we may just say that being an artist-surrealist is not only a way of painting, but a way of living.
Women in the ex-votos of Alfredo Vilchis Roque
Ex-votos have appeared in the artistic tradition of Mexico since colonial times. Famous miraculous images (such as, say, Virgen de Guadalupe) have not only attracted crowds of pilgrims, but also encouraged the faithful to create votive images of a supplicatory or thanksgiving character (or to commission them). This tradition has remained to the present day, and one of the most well-known creators, who has found his artistic path in this formof imaging, is Alfredo Vilchis. The topics covered in his works are diverse, but always strongly related to problems of modern Mexican society. One of them is a position of a woman, as well as perceiving her through established stereotypes (malinchismo, marinismo).
Anthropophagy in Adriana Varejão’s art
Adriana Varejão (born in 1964) is one of the most well-known contemporary Brazilian artists. Her artistic output include works made in various techniques; both paintings, installations and drawings. In her work, she holds a dialogue with the past, she is particularly interested in colonial history and racial diversity, which to this day constitute important aspects shaping modern Brazilian society. The article concerns one of the important motifs that have permanently become present in the artist’s work: anthropophagy. The analysis has covered both iconographic elements and formal aspects of the artist’s works, in which she refers to this motif. What cannot be ignored is a dialogue, which in this case is held with the modernist concept of anthropophagy defining the identity of the Brazilian culture, shaped in the avant-garde trend of artistic reflection in Brazil in the 1920s.
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