Relevant bibliographies by topics / South American Painting

Contents

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

Academic literature on the topic 'South American Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "South American Painting"

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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, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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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, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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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 Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
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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 Jesuit Juli’s artistic center), but were not methodically made visible as an autonomous whole. This work is part of a broader objective that is in process: to give solid basis to the problem of Collavino style from case studies, relying on the ‘correspondences’ methodology to achieve greater scientific rigor. The enumeration and systematization of the constituent elements of this school seeks, first, the precise determination of the influences of European schools that served as support for the creation and, secondly, to establish what was the real contribution of American natives to international art history.
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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 the nineteenth century would not have meant a glorification of South American nature, as is usually maintained. On the contrary, they should be read as the conjunction of factors such as racial assumptions prompted by new scientific disciplines, a sense of cultural superiority, and an intense obsession with both the past and an idea of purity projected onto distant lands. This, in turn, would have been part of a series of appropriative discourses concerning regions beyond Europe, put into practice by German romantic explorers of the time. In this fashion, this essay proposes a reoriented interpretation of these artists and their work, challenging the prevalent idea that the development of romantic landscape painting in South America was almost entirely determined by European aesthetic trends such as the sublime and the picturesque.
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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 cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.
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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 "South American Painting"

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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 many South Asians face. This struggle, which I as a South Asian-American woman painter have also experienced, includes a constant internal conflict between desiring to fit into Western culture and trying to maintain one’s cultural heritage within a Western environment. Ultimately, through these paintings and this essay, I seek to shed light on this complex relationship between South Asian culture and a Western context.
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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 definitivamente o seu silêncio de três décadas. Nesse percurso, analisou-se não apenas as fases de sua pintura, como seu significado enquanto formalização discursiva do trabalho conceitual de Le Corbusier, valorizando-se a relação entre pintura e urbanismo, em especial, a partir de suas viagens para a América do Sul.<br>After beginning his trajectory as a painter in the Parisian cubist and purist avant-garde movements, Le Corbusier halts his painting activity to the eyes of the public, keeping it regularly and systematically just for himself. Aside from a few small and discreet exhibitions, Le Corbusier spends 30 years painting without exhibiting until 1948, when he begins the rediscovery of what was to be called his \"secret labor\". This process of recovery of his painting as a \"profound virtue\" of his architecture and urbanism culminates in a huge exhibition in Paris, in 1953, breaking once and for all his 30-year silence. In this piece, not only the phases of Le Corbusier\'s painting were analyzed, but also its meaning as a discursive formalization of his conceptual work.
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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 any suggested reconstruction of public rock art sites must recognise that they are implicated in identity-formation. Following this premise, a strategy, entitled metaphoric pilgrimage, is suggested, developed and applied to four rock art sites - two in South Africa and two in America.
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Books on the topic "South American Painting"

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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 "South American Painting"

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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-painting of Emerson’s words and name on the wall-is a form of cultural practice that also points out the uses of philosophy as a response (however meaningful or thoughtless that response might be) to social crisis. Taken in its literally concrete context, the graffitied epigram establishes a cohesive group identity for individuals involved in an ongoing struggle for social justice-a collectivity or “we” whose glory consists in rising every time it falls.
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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 Americans would spur savage behaviors and compromise civil society. Most of the portraits feature young women about to be married, connecting their masked visages with the metaphor of a woman in courtship who masked her affections to attain the best husband. Wollaston’s adoption of mask iconography also resonates with the tumultuous 1760s, marked by the growing political crisis between Great Britain and her American colonies, when colonists questioned the nature of their identity as imperial subjects and feared British duplicity.
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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 descent in the first half of the 20th century such as: Jacobus Hendrik Pierneef, Irma Stern, Walter Battiss and Alexis Preller. All of them have started to utilize the African iconography in their own paintings and decided to borrow some typical stylistic elements and narratives from indigenous works of African Art.
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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 experience which transcended rock art, myths, and rituals. These concepts came also to be important stimulus for rethinking rock art in other parts of the world, like in the case of European Palaeolithic cave art, rock art in North America or Central Asia. Finally it became inspiration for rethinking of fundamental questions in human history, like origins of art and Neolithic revolution. All in all, theoretical advances in interpreting rock art as developed in the South Africa became crucial not only for African rock art, but they marked new area in global rock art research.
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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 he saw embodied in pipe ceremonies. The artist delivered slide lectures about his paintings and taught Dakota modernism as an “American Specialist” in nine countries in Europe, South Asia, and the Middle East in 1971, just as AIM activists were embracing the cʿąnų́pa wakʿą́ as a potent unifying symbol of Red Power.
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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 world and the representative portrait of a continent fostering dreams and illusions.” As Mondrian’s grid paintings illustrate that “background has become exactly coincident with the foreground,” so, too, does Welty’s autobiography equalize the background of the history of the U. S. and the South with the author’s individual life, shifting the “respective positions of reader and writer from intimate exchange to public performance.”
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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 favourite possessions killed above the grave to ensure his swift passage to the afterlife. To the north in what Americans of European descent call New Mexico, Diné warriors chant the sacred songs that ensure their pursuers will not catch them and that they will return safely home. And on the wintry plains of what is not yet Alberta, Siksikáwa hunters charge into one of the last bison herds they will harvest before the snows bring this year’s hunting to an end. Two things unite these very different scenes. First, though we cannot be sure, the historical, ethnographic, and archaeological sources on which they are based allow for them all happening on precisely the same day, sometime in the 1860s. Second, all concern people’s relationship with one and the same animal—pindi nanto, karkan, kawoi, ∤íí’, ponokáómita·wa—the animal that English speakers know as ‘horse’. And that simple fact provides the basis for this book. For, before 1492, horses were confined to the Old World—Europe, Asia, and Africa north of the tropical rainforests and a line reaching east through South Sudan, Ethiopia, and Somalia to the sea. They were wholly unknown in Australasia, the Americas, or southern Africa. As a result, the relationships implied by the vignettes I have just sketched, as well as those involving Indigenous populations in Colombia, Venezuela, Brazil, Paraguay, Uruguay, Chile, Mexico, South Africa, and New Zealand, evolved quickly. And they were still evolving when these societies were finally overwhelmed by European colonization.
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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 low representation of others. We achieve this by comparing archaeological data with spatially and temporally contemporaneous ethnographic information about the representation of animal species in ceremonial body paintings. Thus, we seek to explain whether the selection of some species and the avoidance of others in the subsistence sphere was being reinforced by or forbidden according to symbolic values that stemmed from the ceremonial sphere. Such questions derive from a theoretical premise that dismisses the notion of absolute optimality in human practices. It proposes instead that people’s actions and decisions are not guided only by rational principles and cost-minimizing aims: they can also be non-rational and non-optimal, and yet can make a socio-economic system function and reproduce efficiently through time and space without collapse. We argue that archaeological techniques and data have much to contribute to an understanding of the complexity of human–environment relations—particularly the ability to critique the overly simplistic economic models that often feed into popular and bureaucratic approaches to human environments. During the last fifteen years, one of the most popular approaches to subsistence in prehistoric and non-industrial societies has been the application of optimality models (e.g. Broughton 1994; Grayson and Delpech 1998; Nagaoka 2002, among others). In principle, these models were conceived as methodological tools through which the researcher lays out a hypothetical scenario of how resources should be consumed if people were trying to minimize costs and maximize benefits towards reaching an optimal result.
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