Relevant bibliographies by topics / Mexican casta paintings

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Mexican casta paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Mexican casta paintings"

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scott, nina m. "Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings." Gastronomica 5, no. 1 (2005): 70–79. http://dx.doi.org/10.1525/gfc.2005.5.1.70.

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Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings Mexican casta paintings flourished as a popular art form in the eighteenth century. No one is sure of the exact origin of this type of painting, which depicted racial mixtures accompanied by local foods; most likely it was an export item for wealthy Spaniards who were returning home and wanted a souvenir of colorful and exotic Mexico. Casta paintings were generally created in sets of sixteen canvases, and depicted all manner of racial hybridization among Whites, Blacks and Amerindians. The common trope was to portray a father, a mother, and an offspring, beginning with the Spanish male with Indian and Black consorts, and ending with an Indian couple, groupings which reflected social hierarchies of the colonial world. Most were painted by anonymous artists, though the canvases analyzed in this study are by known painters. Because of the emphasis on domestic relations, couples were often portrayed in kitchens or markets, which gives us valuable information on this aspect of daily life. The foods associated with the different castes also reflected socio-economic hierarchies, as well as reinforced the idea of America as land of bounty. Colonial artists generally imitated European models, but with the casta paintings Mexican artists were instead urged to paint what distinguished their country from Spain, hereby contributing to a growing sense of independence from the metropolis.
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Del Val, Nasheli Jiménez. "Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading." New Readings 10 (January 1, 2009): 1. http://dx.doi.org/10.18573/newreadings.67.

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Dissertations / Theses on the topic "Mexican casta paintings"

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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.

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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Grene, Ruth. "The Colonizers and Their Colonized." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/99233.

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This study is concerned with the Self/Other dichotomy, originally formulated by scholars of South Asian history in the context of European imperialistic treatments of the peoples whom they colonized for centuries, as applied to Mexican history. I have chosen some visual, cinematic, and literary representations of indigenous and other dispossessed peoples from both colonial and post-colonial Mexico in order to gain some insights into the vision of the powerless, (the 'Other'), held by the powerful (the colonizers, whether internal or external), especially, but not exclusively, in the context of race. Some public and private works of Mexican art from the 18th , 19th. and the 20th centuries are used to understand the perceptions of the Other in Colonial Mexico City, at the time of Independence, in state-sponsored pre and post-Revolutionary spectacles representing indigenous peoples, cinematic representations of the marginalized and the dispossessed from the Golden Age of Mexican cinema, and in the representation of the marginalized in the literary and photographic works of Juan Rulfo. I conclude that an ambivalent mixture co-existed in Mexican culture through the centuries, on the one hand, honoring the blending that is expressed in the word 'mestizaje', and on the other, adhering to a thoroughly Eurocentric world view. This ambivalence persisted from the 18th century through Independence and the Revolution and its aftermath, albeit in transformed '
M. A.
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Books on the topic "Mexican casta paintings"

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Saiz, María Concepción García. Las castas mexicanas: Un género pictórico americano. Olivetti, 1989.

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Casta painting: Images of race in eighteenth-century Mexico. Yale University Press, 2004.

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Cultura, Instituto Coahuilense de, Museo de Arte Contemporaneo "Angel Zarraga", and Instituto Nacional de Bellas Artes (Mexico), eds. Frida maestra: Un reencuentro con los Fridos : septiembre a noviembre, 2004, Museo Casa Estudio Diego Rivera y Frida Kahlo-INBA : marzo a abril, 2005, Instituto Coahuilense de Cultura : mayo a julio, 2005, Museo de Arte Contemporáneo de Durango. Instituto Nacional de Bellas Artes, 2005.

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Montero, Sergio Arturo. La restauración de las pinturas murales de la casa de la Moreña. Instituto Nacional de Antropología e Historia, Escuela Nacional de Conservación, Restauración y Museografía, 1991.

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The Casa del Deán: New World imagery in a sixteenth-century Mexican mural cycle. University of Texas Press, 2014.

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Arellano, Alfonso. La Casa del Deán: Un ejemplo de pintura mural civil del siglo XVI en Puebla. Universidad Autónoma de México, 1996.

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Portilla, Manuel Cortina. Algo sobre la plata en México en el siglo XVIII. Grupo Consa, 1986.

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La pintura de Castas / Mexican Castas Painting. Artes De Mexico, 1998.

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Katzew, Ilona. Casta Painting: Images of Race in Eighteenth-Century Mexico. Yale University Press, 2004.

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Katzew, Ilona. Casta Painting: Images of Race in Eighteenth-Century Mexico. Yale University Press, 2005.

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Book chapters on the topic "Mexican casta paintings"

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"Casta Paintings (1785)." In Mexican History, edited by Nora E. Jaffary, Edward W. Osowski, and Susie S. Porter. Routledge, 2018. http://dx.doi.org/10.4324/9780429498978-36.

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"RACIALIZED SOCIAL SPACES IN CASTA AND COSTUMBRISTA PAINTING." In Mexican Costumbrismo. Penn State University Press, 2018. http://dx.doi.org/10.5325/j.ctv14gpbkg.6.

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"chapter 1 Racialized Social Spaces in Casta and Costumbrista Painting." In Mexican Costumbrismo. Penn State University Press, 2018. http://dx.doi.org/10.1515/9780271081540-004.

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Smith, Paul Julian. "Race on TV: Crónica de castas [Chronicle of Castes] (Canal 11, 2014)." In Dramatized Societies: Quality Television in Spain and Mexico. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383247.003.0008.

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Chapter 7 enlarges the focus on gender and sexual politics to embrace race and ethnicity. Beginning with a historical account of the complex representation of race in Mexican visual culture (painting, film, and TV), it goes on treat a unique example of a series focusing on that repressed subject. Shot and set in a working class barrio of Mexico City, this series charts the troubled consequences of ethnic mixing in Mexico, presenting little seen (and heard) indigenous characters of different kinds and enlarging its focus to embrace local Jews, Basques, and working-class transvestites. Race, gender, religion, and social class are thus cut and shuffled in this invaluable drama.
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Broughton, Chad. "Unrest in the Magic Valley." In Boom, Bust, Exodus. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199765614.003.0005.

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One Evening in May 1967, in the parched border city of Mission, Texas, Ed Krueger had worked into the early evening on a painting and was late to the demonstration at the railroad crossing. He arrived there at 8:45 p.m. with his wife, Tina; his 18-year-old son, David; and Doug Adair, a young journalist writing for the magazine El Malcriado: The Voice of the Farm Worker. Just a few union members and bystanders were at the crossing when they arrived. Krueger, 36, a lanky and clean-cut minister, had been working with Local 2 of the United Farm Workers Organizing Committee (UFW) and had expected to see thirty or forty striking farmworkers and activists protesting the “scab melons” passing by on the next train. But they weren’t there, and Krueger was worried. They parked 75 feet south of the railroad crossing, on the west side of Conway Street. Krueger and his wife grabbed some hamburgers and sodas and leaned on their bumper to eat with their son. Adair went to talk to a reporter on the north side of the crossing. Joining Krueger was Magdaleno Dimas, an itinerant 29-year-old farmworker. A Mexico-born U.S. citizen, Dimas had a dragon tattoo on his right arm, a rose on his left, and an edgy zeal for the strike. They were waiting for a freight train carrying tens of thousands of recently harvested cantaloupes and honeydews loaded into thirty or so refrigerated cars. The melons had just been cut at La Casita ranch in Rio Grande City, thirty miles west of Mission. After a switch down-valley in Harlingen, the ranch’s melons would head north to San Antonio. La Casita, owned by a California company, operated nearly year round and employed 300 to 500 laborers on 2,700 acres of melons, peppers, carrots, cabbage, celery, and lettuce. The southern boundary of its well-ordered fruit and vegetable fields was the snaking Rio Grande River. All that separated La Casita from Mexico was a short swim across the slow-moving, greenish river that irrigated its fields.
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