Relevant bibliographies by topics / Painting, South American

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

Academic literature on the topic 'Painting, South American'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "Painting, South American"

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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, th
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, th
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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Amer
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Seldes, Alicia M., Jose Emilio Burucua, Marta S. Maier, Gonzalo Abad, Andrea Jauregui, and Gabriela Siracusano. "Blue Pigments in South American Painting (1610-1780)." Journal of the American Institute for Conservation 38, no. 2 (1999): 100. http://dx.doi.org/10.2307/3180041.

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Seldes, Alicia M., José Emilio Burucúa, Marta S. Maier, Gonzalo Abad, Andrea Jáuregui, and Gabriela Siracusano. "Blue Pigments in South American Painting (1610–1780)." Journal of the American Institute for Conservation 38, no. 2 (1999): 100–123. http://dx.doi.org/10.1179/019713699806113484.

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Isidoro, Martín, and Clelia Domoñi. "La barca en La huida a Egipto: segundo caso documentado en la pintura andina." Sztuka Ameryki Łacińskiej 3 (2013): 107–21. http://dx.doi.org/10.15804/sal201304.

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By discovering in the storage of the Prelature of the Juli’s Matriz Church, a second case of the presence of the boat on the Flight into Egypt in the Andean painting, it has been made a tour though several paintings of this theme broadly – present in that church –. They were analyzed with the methodology of “correspondences” of engravings as graphic sources and have been linked with Latin inscriptions. These Juli’s paintings have served to outline timelines and issues of style about collavina school. Collao’s Painting and sculpture were relevant in colonial South American art (especially the J
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Gaete, Miguel A. "The Garden of Eden Revisited." Latin American and Latinx Visual Culture 4, no. 4 (2022): 9–25. http://dx.doi.org/10.1525/lavc.2022.4.4.9.

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This article examines the view of South America as the Garden of Eden through the lens of three German romantic artists: Johann Moritz Rugendas, Otto Grashof and Carl Alexander Simon. I discuss some of their paintings and drawings of the jungles of Brazil and the forests of Chile, along with notes and entries from their travelogues, to determine the extent to which specific elements from the German Weltanschauung, together with a colonialist gaze, drove their depiction of South America. The general argument is that linkages between South America and paradise raised by German artists throughout
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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus c
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Seldes, Alicia, Jose E. Burucua, Gabriela Siracusano, Marta S. Maier, and Gonzalo E. Abad. "Green, Yellow, and Red Pigments in South American Painting, 1610-1780." Journal of the American Institute for Conservation 41, no. 3 (2002): 225. http://dx.doi.org/10.2307/3179920.

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Seldes, Alicia, José E. Burucúa, Gabriela Siracusano, Marta S. Maier, and Gonzalo E. Abad. "Green, Yellow, and Red Pigments in South American Painting, 1610–1780." Journal of the American Institute for Conservation 41, no. 3 (2002): 225–42. http://dx.doi.org/10.1179/019713602806082548.

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Dissertations / Theses on the topic "Painting, South American"

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Asif, Noor A. "Understanding Postcolonial South Asian Communities Through Bollywood." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/788.

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Inspired by my personal experience as a South Asian-American, I chose to create a series of paintings that seek to analyze the relationship between South Asians and a Western environment. I was further influenced by Bollywood painted posters, which I argue encapsulate postcolonial aesthetics in the form of fair skin, colored eyes, and exoticism. Moreover, I believe that Bollywood has continued to disseminate these aesthetics to the South Asian collective community. Bollywood and its implicit fascination with the West, in addition to its inherently South Asian identity, embody the struggle that
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Robinson, Stuart T. "Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283366290.

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Benoit, Alexandre Hector. "O labor secreto de Le Corbusier." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-25072014-101116/.

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Após iniciar sua trajetória como pintor junto às vanguardas parisienses do cubismo e do purismo, Le Corbusier cessa em 1923, aos olhos do público, tal atividade, mantendo-a regular e sistemática como um trabalho exclusivo seu. Afora algumas poucas exposições menores e discretas, Le Corbusier permanece cerca de 30 anos pintando sem expor até que, em 1948, inicia o redescobrimento do que veio a chamar de seu \"labor secreto\". Esse processo de retomada da pintura como a \"virtude profunda\" de sua arquitetura e de seu urbanismo converge, em 1953, para uma grande exposição em Paris, quebrando def
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Blundell, Geoffrey. "The politics of public rock art: a comparative critique of rock art sites open to the public in South Africa and the United states of America." Thesis, 2016. http://hdl.handle.net/10539/20863.

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A dissertation submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts. Johannesburg, 1996<br>South African and American public rock art sites are in a predicament. In both countries, there is a lack of an adequate, theoretically informed but practically implementable, conceptual approach to presenting these sites. This lack leads to the reproduction of stereotypes of rock art and the indigenous people who made it. This thesis suggests a way of rectifying the present situation. It is argued that
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Books on the topic "Painting, South American"

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Soos, Frank. Kesler Woodward: North and South. Morris Museum of Art, 2001.

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Gallery, Security Pacific. Security Pacific Gallery, South Coast Metro Center. Security Pacific Corp., 1989.

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Poesch, Jessie J. The art of the old South: Painting, sculpture, architecture & the products of craftsmen, 1560-1860. Harrison House, 1989.

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Mercedes, Casanegra, and Banco Velox. Departamento de Promoción Cultural., eds. Pintura del Mercosur: Una selección del período 1950-1980. Ediciones Banco Velox, 2000.

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Cerullo, M. Constanza, and Belén Bauzá. 4 museos + 40 obras: Colección MACBA, Museo de Arte Contemporáneo Buenos Aires. Edited by Museo de Arte Contemporáneo Buenos Aires, Museo Nacional de Bellas Artes (Argentina), Museo Provincial de Bellas Artes "Emilio A. Caraffa.", Centro Cultural del Bicentenario de Santiago del Estero, and Museo de Arte Contemporáneo Latinoamericano (La Plata, Argentina). Museo de Arte Contemporáneo, 2012.

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Toyomi, Igus, ed. Going back home: An artist returns to the South. Children's Book Press, 1996.

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Morris Museum of Art (Augusta, Ga.), ed. Modernism in the South: Mid-twentieth-century works in the Morris Museum collection. Morris Museum of Art, 2002.

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Jaguer, Edouard, and Daisy V. M. Peccinini de Alvarado. Phases: Surrealismo e contemporaneidade, Grupo Austral do Brasil e Cone Sul. Secretaria de Estado da Cultura de São Paulo, 1997.

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McClelland, Donna. Moche fineline painting from San José de Moro. Cotsen Institute of Archaeology at UCLA, 2008.

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), National Gallery of Art (U S. South American Indian paintings by George Catlin. National Gallery of Art, 1992.

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Book chapters on the topic "Painting, South American"

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"Jacob Lawrence: The Great Migration Painting." In Milestone Visual Documents in American History. Schlager Group Inc., 2022. https://doi.org/10.3735/9781935306733.book-part-081.

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This image is one of sixty panels created by African American artist Jacob Lawrence in his extended work The Migration Series. The paintings were done with casein tempera (a type of water-soluble paint with a milk base) on hardboard. Taken together, the paintings document the Great Migration, the term that refers to the mass movement of African Americans from the rural South to the urban North that took place largely between the two world wars. During those years, Black southerners were fleeing the segregation and racial oppression of the South in search of better jobs and a better life. This
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Patterson, Anita Haya. "Martin Luther King fr.: Publicity, Disobedience, and the Revitalization of American Democratic Culture." In From Emerson to King. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195109153.003.0009.

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Abstract On Forty-seventh Street, on the south side of Chicago, there is a large graffiti mural that depicts an undulating series of sea-green waves. Below this striking image are spray-painted letters that spell out the following words, attributed to Emerson: OUR Greatest Glory Consists Not In Ever Falling But In Rising Everytime We Fall [sic].’ The graffiti serves as a reminder of the various ways language performs the cultural work of inventing and perpetuating values-values to which we, in tum, find ourselves deeply and naturally committed. The creation of the graffiti mural¬ the spray-pai
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"John Carwitham: “A South East View of the Great Town of Boston in New England in America”." In Schlager Anthology of Early America. Schlager Group Inc., 2022. https://doi.org/10.3735/9781935306672.book-part-033.

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London-based John Carwitham's engraving of Boston, based on a much larger painting done by William Burgis in 1723, captures a view of the city as it would have appeared from Castle Island sometime in the mid-1730s, showing a stretch of waterfront from South Battery to the North End. Notable locations depicted in the engraving include the Long Wharf, Fort Hill, and the Trimount or Trimountain, the city's primary hills, the sole surviving one being Beacon Hill. Carwitham also opted to include buildings that were not yet erected when Burgis painted his canvas of Boston, including the Old South Me
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Van Horn, Jennifer. "Masquerading as Colonists." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0005.

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This chapter studies a series of portraits of young women dressed for the masquerade, completed by English artist John Wollaston in Charleston, South Carolina. Although Wollaston painted the sitters in historic costume appropriate for a public masked ball, no masquerades were held in the British North American colonies. Instead, these fictional portrayals allowed colonial women to vicariously participate in the sexually riotous assemblies. For male colonists, the paintings underlined the need to contain women’s sexuality. In a colonial environment, many feared women’s proximity to native Ameri
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Pawłowska, Aneta. "Inspiracje, imitacje i zapożyczenia ze sztuki prymitywnej przez artystów południowoafrykańskich w I połowie XX wieku." In Sztuka Afryki. Afrykańska tradycja – afrykańska nowoczesność. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-321-5.05.

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The aim of the article is the presentation of the influence of African art at the beginning of the 20th century in South African. Primitivism and the awareness of Primitive Art have played a crucial role in the history and development of 20th century European and American Art, in a number of different ways, although the dynamics of how this happened are complex and varied. The purpose of this article is limited only to the presentation of the influence of indigenous Art from the African Continent and the socalled primitive or aboriginal art in the South African art tradition of European descen
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Rozwadowski, Andrzej. "Powrót do „afrykańskości” w interpretacji południowoafrykańskiej sztuki naskalnej i jego implikacje teoretyczne." In Sztuka Afryki. Afrykańska tradycja – afrykańska nowoczesność. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-321-5.03.

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The South African rock art related to Bushmen (San) tradition is today one of the best understood rock arts all over the world. This situation results from theoretical advances proposed and elaborated by David Lewis-Williams, who was a founder of new school in rock art research. Careful analyses of ethnographic data of the !Xam Bushmen, in particular of the curing dance and the beliefs related to this ritual, have opened new ways of insight into semantics of the South African rock paintings. A key aspect of the new way of reading rock art concerned the decipherment of San metaphors of trance e
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"The Truth-Line." In Earth Diplomacy. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059493-006.

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Chapter 5 charts a shifting history of Indigenous material diplomacy based on the ritual smoking of the cʿąnų́pa wakʿą́ (sacred pipe) and its revival during the Cold War. Conjoining diverse Native communities across long distances prior to colonization, this pan-Indigenous practice endured a treacherous history of colonial treaty negotiations to be reimagined by artists and activists in the era of Indian Termination. Prominent modernist painter Oscar Howe materialized a theory of Dakota ethics and aesthetics through figurative abstractions that distilled the spiritual and ecological truths
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Pitavy-Souques, Danièle. "Private and Political Thoughts in One Writer’s Beginnings (2001)." In The Eye That Is Language, edited by Pearl Amelia McHaney. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496840585.003.0007.

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This chapter begins with the premise that Southern women’s writing is always political, that “all great texts are revolutionary because they change attitudes—mental, social, and political” and follows with an analysis of Eudora Welty’s autobiography One Writer’s Beginnings, initially Harvard’s inaugural lectures on the History of American Civilization. Comparison with Zora Neal Hurston’s Dust Tracks on a Road as a “’figural anthropology’ of the self” (Françoise Lionnet) demonstrates that Welty’s autobiography achieves “a delicate balance between the specificity of the self with its private wor
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Mitchell, Peter. "Introducing Horse Nations." In Horse Nations. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198703839.003.0006.

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Hidden by rocks near a waterhole in Australia’s desert interior an Aboriginal woman and her children catch their first sight of the shockingly large animal of which they have previously only heard: the newcomer’s kangaroo. Thousands of kilometres to the west and high in southern Africa’s mountains a shaman completes the painting of an animal that does not exist, horned at the front, bushy tail at the rear, a composite of two species, one long familiar, the other new. Across the Atlantic Ocean on the grasslands of Patagonia the burial of an Aónik’enk leader is in its final stages, four of his f
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Fiore, Dánae, and Angélica Tivoli. "Is the ‘Environment’ Good to Eat or Good to Paint? Faunal Consumption and Avoidance among Hunter-Gatherer-Fishers in the Beagle Channel Region (Tierra del Fuego, South America)." In Humans and the Environment. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199590292.003.0013.

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This chapter discusses some aspects of the multi-dimensional nature of human–environment relationships. It focuses on the interaction established between people and animals in the Beagle Channel region (Tierra del Fuego, South America; Figure 5.1) through an analysis of taxon selection or avoidance in two inter-related spheres: subsistence and ceremonial art. The selection or avoidance of a particular species can be related to environmental, economic, political, and ideological factors, and our aim is to point out which of these factors influenced the high exploitation of certain taxa and the
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