Arce Y Miranda Casta Casta Painting Analysis

In Gloria Anzaldua 's ‘La Conciencia de la Mestiza,’ the concept of ‘mestiza’ is born out of an exclusionary attitude. However, Anzaldua speaks of the ‘new mestiza,’ which is a Chicana (Mexican-American/Anglo) embodied by the amalgamation of her native ancestors cultural elements, typically of Latin American, American Indian, European, or Pilipino descent. The ‘new mestiza,’ embraces ‘white exclusionary politics’

The historic documentation of the “Liens de Tlaxcala” painted from a Native American perspective illustrates Spanish documental techniques in Mexican and Central America before during the conquest. Documentation techniques feature illustrations of the conquers Castilians and Tlaxcala’s invading the Western Hemispheres and killing the native Acatepec groups. The illustrations show a much deeper meaning of how the society of the natives was structured based on different gender roles, status, and class hierarchy. An example of social class is how the groups differed in attire, weaponry, and tactics of battle. For instance, image 79 illustrates how the Castilians and Tlaxcala’s were dressed in proper war clothing. The clothing constituted of headbands,

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

Through the voice of Palo Alto, a mesquite tree, Elena Zamora O’Shea relates the story of one Spanish-Mexican family’s history, spanning over two hundred years, in South Texas, the area encompassing between the Nueces and the Rio Grande. As the narration of the Garcia’s family history progresses through the different generations, becoming more Mexican-American, or Tejano, peoples and things indigenous gradually grow faint. In her account of South Texas history, Elena devalues the importance and impact of Indians, placing a greater precedence on the Spanish settlers.

Colonial Latin American society in the Seventeenth Century was undergoing a tremendous amount of changes. Society was transforming from a conquering phase into a colonizing phase. New institutions were forming and new people and ideas flooded into the new lands freshly claimed for the Spanish Empire. Two remarkable women, radically different from each other, who lived during this period of change are a lenses through which many of the new institutions and changes can be viewed. Sor Juana and Catalina de Erauso are exceptional women who in no way represent the norm but through their extraordinary tales and by discovering what makes them so extraordinary we can deduce what was the norm and how society functioned during this era of Colonial

One of the primary aspects of colonial Spanish life that is depicted in many Casta paintings, and represents signifiant racial tensions at the time, is the depiction of mixed race, or mixed nationality people, who are present, or the subjects of many Casta paintings. Although the Casta system, and the Casta paintings that depict this system encompass a wide and deeply complex racial hierarchy, there are some significant racial distinctions that are prominent in many Casta paintings. Some of the main racial and national distinctions seen in many Casta paintings are, Criollos (Mainly Spanish, or other Europeans who were born in America), Mestizos (A person with one Native American parents and one European parent), Mulatos (A person with one African parent and one European parent), and Negros (African). Although these terms would often be considered to be highly offensive in modern day America, they are culturally relevant, as they were commonly used at the time of the Casta system. This essay will explore the depictions of these four groups of people in Casta paintings, and how these paintings help to illuminate the racial tensions, hierarchies, and cultural changes occurring in Hispanic America during the 17th century.

The legacy and impact of the Spanish conquest is continually discussed and analyzed. The struggle in finding native identities while also acknowledging Spanish heritage is a continuing process in Latin America. Modern film and art, such as Salvador Carrasco’s La Otra Conquista and Diego Rivera’s mural the arrival of Cortés speak about the conquest and its effects on Mexico identity. The film challenges myths about the conquest by arguing against the greatness of Cortés, showing power in native agency, and Spanish dependency on interpreters. The mural upholds myths of the conquest like the black legend, minimizes

Throughout our tour it had been mentioned repeatedly that Olana is a masterful “three dimensional painting” by Frederic Church. Initially, this sounded like a cliché and unimaginative way to describe the grandeur of the house, until I understood how true the statement really was. In actuality, the description was not only directed towards the ornate home, but instead referred to the entirety of the historic site, which includes the 250 acres of surrounding land. What allowed me to understand the validity of the comment was knowing that in the process of building his home Church planted thousands of trees onto his estate and even carefully designed and created the lake for the purpose of beautifying the land. In other words, not only the house, but

There are different approaches used when discussing the survival of indigenous visual cultures. Each essay provided for analysis interprets the conquest of the Americas differently and connects it to Colonial Mexico artistic production at various degrees. Each essay also advocates for its own term that can be used to represent the process of Spanish and Indigenous art forms coming together in a complex cultural context. Kubler advocates for the term, folk art to describe colonial art because it is art production that is devoid of its past meaning. His views on conquest explicitly claim that the Spanish conquest was successful due to Spanish superiority over Indigenous cultures. However problematic his claims are, he is able to dissect the forms used by the Spanish conquest to gain control over artistic production. Mestizo, is the term used by Neumeyer to describe the mixing of two art forms that can only be apparent when Indigenous people reached a high aesthetic culture during the conquest. He also promotes the idea that Colonial art was continuously developing. However, his views of Indigenous art is that it is unable to compete with European modes of art. Finally, Dean and Leibsohn use to the term hybrid as a production and enactment that challenges norms. “Hybridity and Its Discontents” is the most liberal of the three readings. It uses the term hybrid as a way to critique the cultural context in which it was able to be produced; Spanish conquest. It also, critiques

Where as Mexico and Mexicans are described in another light with references to a holocaust and “violent and traumatic.” Spaniards were “brutal and callous,” and Spanish law a “chaotic jumble” (7, 10, 13).

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

The prevailing attitude of white supremacy was the justification Americans used to “rescue the wilderness from backwardness, indolence, and disorder”(De Leon 65). Mexico in its earliest days was primarily Indian, but the infusion of both Spanish and black blood made it harder to define Mexicans. White Anglo-Americans believed “their contrast to ‘white’ and salient kindred to ‘black’ and ‘red’ made Mexicans subject to treatment commensurate with the odious connotations whites attached to colors, races, and cultures dissimilar to their own” (De Leon 6).

Illustration from Sahagún, Historia general de las cosas de Nueva España, c. 1575-1580; ed., tr., James Lockhart, We People Here: Nahuatl Accounts of the Conquest Mexico (Univ. of California Press, 1993)

From Reséndez’s foundation of European enslavement and its far-reaching impact on Native American populations, Reséndez examined racial components in the southwest. It is impossible to separate racial tension from the study of Indian slavery. Christopher Columbus’s journals as contemporary letters show the Spanish perception of

Beautiful, flowing imagery through art renderings will show Don Isaac Abarbanel and Spain in her ‘golden years’ juxtaposed with stark images of the horrors of 15th century Spain with King Ferdinand and Queen Isabella, Catholic Priest Torquemada in the king’s court with condemned Jews in pointed hats, Jews fleeing