El arte barroco se desarrolla entre los siglos XVII y XVIII. El arte será el vehículo de propaganda tanto de la Iglesia de la Contrarreforma, como de los Estados absolutistas o de la burguesía protestante.
En el barroco la figura humana se alza como objeto decisivo del arte, pero no en su forma idealizada, sino en cualquier aspecto, ya sea este bello o feo, sublime o cotidiano.
En el barroco podemos distinguir tres períodos: temprano o primitivo, de 1580 a 1630, pleno, de 1630 a 1680, y tardío o rococó, de 1680 a 1750.
El barroco artístico contrasta abiertamente con el ideal de armonía, proporción y medida que propugnó el Renacimiento. Las principales características del arte barroco son:
Dinamismo El artista barroco desea crear
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A imitación de Versalles se construyen en España los reales sitios, sobre todo Aranjuez.
Destacan, Alonso Carbonell: El Buen Retiro, Juan Gómez de Mora: plaza Mayor, la cárcel de la Corte y Alonso Cano, fachada de la catedral de Granada.
En el siglo XVIII se desarrolla el estilo churrigueresco. Se trata de un estilo muy decorativo, sobre todo en el exterior. José Benito de Churriguera es el auténtico creador del estilo: San Cayetano, Santo Tomás, y la ciudad de Nuevo Baztán, Joaquín de Churriguera: colegio de Calatrava en Salamanca y Alberto de Churriguera: plaza Mayor de Salamanca. Pedro de Ribera, puente de Toledo. Narciso Tomé: transparente de la catedral de Toledo, y Fernando de Casas Novoa, la fachada del Obradoiro en Compostela.
Los dos grandes proyectos de la Corte borbónica son la granja de San Ildefonso, Teodoro Ardemáns, y Aranjuez, Santiago Bonavía. Se construyó el Palacio Real, Fillippo Juvara y Giovanni Battista Sacchetti.
Hispanoamérica
Durante los siglos XVII y XVIII la conquista y dominación de las Indias llega a su apogeo. Se crean nuevas ciudades y se reconstruyen las ya existentes.
En la catedral de México, trabajan Claudio Arciniega y Juan Miguel Agüero. Se convertirá en el paradigma de la arquitectura colonial. Francisco Becerra levantará la catedral de Puebla. Francisco Antonio Guerrero y Torres: capilla del Pocito, en Puebla. En Puebla aparece una escuela
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
Any student of history has come to recognize the fact that history is written by the victor and in lieu of this, research becomes essential to uncover where the truth lies. The True History of the Conquest of New Spain, so ironically named, is a personal account for historical events leading up to the conquest of New Spain, formerly known as the City of Mexico. The author, Bernal Diaz, was a soldier of the conquering army who composed the document well after the events took place sometime between 1552 and 1557. Though the document did provide insight in regards to the victor’s perspective, it also served as a tool to rewrite the account of the conquered people.
David E. Shi, H. A. (2010). Juan De Onate From Letter from New Mexico (1599). In H. A. David E. Shi, For The Record (pp. 6-8). New York, NY: W.W. Norton & Company, Inc.
For decades, the history of Latin America has been shrouded in a cover of Spanish glory and myth that misleads and complicates the views of historians everywhere. Myths such as the relationship between natives and conquistadors, and the individuality of the conquistadors themselves stand as only a few examples of how this history may have become broken and distorted. However, in Seven Myths of the Spanish Conquest Matthew Restall goes to great lengths to dispel these myths and provide a more accurate history of Latin American, in a readable and enjoyable book.
Death, starvation, illness, and hostile natives are some of the difficulties explorers faced during the 15th century. Alvar Nunez Cabeza de Vaca and Garcia Lopez de Cardenas were two Europeans who traveled great distances in hopes of discovering something new. Throughout their journeys, both men wrote down the problems and discoveries they made. With the passages from their journal one can compare and contrast their expeditions. In the upcoming paragraphs one will learn the similarities and differences between the two men during their expeditions.
Dworkin, y M. K, and Nelsy Echávez-Solano. Spanish and Empire. Nashville, Tenn: Vanderbilt University Press, 2007. Print.
Leon-Portilla based the stories told in this book upon old writings of actual Aztec people who survived the Spanish massacres. The actual authors of the stories told in this book are priests, wise men and regular people who survived the killings. These stories represent the more realistic view of what really happened during the Spanish conquest. Most of the history about the Aztec Empire was based on Spanish accounts of events, but Leon-Portilla used writings from actual survivors to illustrate the true history from the Indians’ point of view.
Before the 15th century, the Indians in the Americas were not connected with the world and would remain that way until Columbus's exploration. In the beginning of 15th century, the Aztecs were the dominant group in Mesoamerica leaded by Montezuma, the last leader, before the Spanish conquest. In 1519, Hernan Cortez led the Spanish mission to explore and conquer the New World. This paper will compare three primary sources about this event. First, an informing letter sent from Cortez to King Charles V, the king of Spain. Second, the Broken Spears which is an Indian recollection about the conquest of Mexico. Lastly, Bernal Diaz’s (one of Cortez’s men) account was written by him to share his experience with Aztec
separate how De Las Casas might have been an outspoken critic of the Spanish’s treatment of indigenous people, and how he was still a part of a repressive institution. Finally, I
Miguel Leon-Portilla author of Broken Spears- The Aztec Account of the Conquest of Mexico, tells the story of the Spanish conquest over the Aztecs from the Aztec point of view. It is more familiar in history that the Spanish led by Hernan Cortez defeated the Aztecs with a powerful army and established an easy victory all while having intentions to gain power and greed. However, Leon-Portilla focuses on the Aztec Empire and their story. Leon-Portilla does a great job giving readers the real occurrences and events from Aztec members. This paper argues that history must be told from all sides. It is more common to hear about the Spanish conquest
Chapter Three is based on Governor’s Alonso De Leon’s 1690 expedition. This chapter is a continuation of what chapter one and two talk about. In chapter three we are able to track the route of the 1690 expedition route through Alonso De Leon’s diary.
In Imperial Spain, J.H. Elliot examines the history of early modern Spain from the reign of the Catholic Monarchs, Isabella and Ferdinand, to the reformation of the Spanish government by the first member of the Bourbon dynasty. According to the author, at the start of the 15th century, Spain was internally weak, hopelessly divided and isolated from the continent by the Pyrenees. Yet, by 1492, Spanish society experienced a tremendous transformation which allowed Isabella and Ferdinand to unify the country, secure the largest transoceanic empire the world has ever known, and for a
Representation” by Michael Schreffler argues that “ . . . early modern rhetoric and iconography . . . constructed a distorted view of painting in Aztec Mexico and entangled it in the conventions of colonial historiography” (407). This essay is effective because of its thorough examination of the accounts that explain a painting made by the Aztec’s at San Juan de Ulúa on Easter Sunday of 1519.
In the primary source document, The Aztec Marketplace at Tlatelolco by Bernal Diaz del Castillo, Castillo manages to describe the magnificent marketplace at the Aztec city, Tlatelolco. Castillo’s memory and recollection of his experience at the market place occurred around the time period of 1521, when the Aztec empire was conquered by the Spaniards through the expedition of Hernán Cortés. After these expeditions and battles between the Aztec natives and the Spanish newcomers, Castillo was able to record his involvement and experience in his entries fifty years later in Guatemala where he lived in retirement.
Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her