Francisco de Holanda y Felipe de Guevara: Inventar, Imitar y el Arte Universal

Miguel Hidalgo y Costilla, also referred to as the father of Mexican independence, began his life on May 8, 1753. He was born on the ranch of San Vincente, the estate of San Diego Corraljo, in the Jurisdiction of Pénjamo, Guanajuato.[1] His parents were Don Cristóbal Hidalgo y Costilla and Doña Ana María Gallaga. Miguel Hidalgo was a Creole, meaning that he was born of pure Spanish blood in a province of Spain.[2] Don Cristóbal and Doña Ana María conceived three more sons subsequent to Miguel. All of their sons were beneficiaries to the reign of Carlos III in Spain. Carlos III allowed admittance of Creoles to colleges and universities, thus inspiring Creole fathers to send their

Most every human being has encountered a time in their life when he or she has felt suppressed. However, not every person has stood up against the people and forces that have kept them oppressed. It takes a truly extraordinary person to stand up for their self and to take a stand for the greater good of others. According to Clare Booth Luce: “courage is the ladder on which all the other virtues mount.” The Mexican writer, Sor Juana Ines de la Cruz and the Puerto Rican writer, Julia de Burgos, acknowledged the fact that they were suppressed by the male gender. Sor Juana and Julia de Burgos did not simply stop at acknowledging the problem at hand. Rather, these two

In Iris H. W. Engstrand article, “Perception and Perfection: Picturing the Spanish and Mexican Coastal West,” I initially did not know what to expect of the article. I figured Engstrand would discuss multiple views and perspectives when moving to the Spanish and Mexican Coastal front. I found the thesis, after reading through the article as it was not outrightly stated, to be: “Artists and illustrators depicted the past -- or the observable present -- in pictorial documents that became the records of current events, journalism, of reportage, and of scientific exploration, discovery, and adventure.” I believe Engstrand’s purpose is to reveal to her readers the predominant primary sources of the late-eighteenth and early-nineteenth century and how the art could be manipulated to please specific cultures or people.

God has created the world beautifully by making the combination of many natural colors, and other things. The images of the natural work of art and animals address the reality of the life as how it begins and at what stage we are now. To create your better understanding the book “Exploring Art: A Global Thematic Approach” written by “Margaret Lazzari, Dona Schlesier” has highlighted the principles and importance of the art work by relating it to the past working of art and modern work of the artists. It increases the level of understanding of the viewers and makes it easy to give their opinions on the situation or concerns addresses in the

Nation's history and culture have definitely a great effect in the art conception in every country. The same way it has a bigger meaning and influence in people that share their traditions. I found really interesting how this empathy multiplies when people happen to be far from their homeland. This is why I chose “Jose Marti” by Roberto Fabelo for this report. “Fabelo”, as he is best known, is a painter, sculptor and illustrator, he was born in Cuba in 1951.

Though one important concept to take in the tone this forum was open it developed an avenue for activist to continue working. An example of this is that of the development of the feminist movement. In which within the US rather than simply to give it an opinion it served to provide a dispute to such as including the Gorilla Women who fight against the way women are portrayed in media. Another example within this can then be Yoko Ono, “Cut Pieces” in which she hopes to express to her public and there view towards her as nothing more than a sexual object. Overall through both of these examples we see that the point of this format above all is simply to make the audience aware. Because of the political climate with Cuba Tania Bruguera is not only a revolutionary artist but as well provides a voice. Within her art whether in Chicago, Cuba or Colombia she creates performance arts that serve to question others and elements form their environments. In this case we are going to focus on two of her works with reference to Cuba. Although this format is hard to known when it became present in Cuba we see that it hold a voice for its

also when other political or social events are grotesque. Such works of art aims at awakening the Cuban citizens of their social and political situation in a time of reflection, in particular in the time of a national reflection - the rectification campaign. Since the rectification campaign tries to have everyone work on fixing the errors committed by the government, the people should take initiative and work on a better nation by reflecting and creating change in their passive approach. The art of Esson offers a space for practice, of make believe in such grotesque situations, in order for the audience to feel prepared and unsurprised of a real life grotesque situation.

, 204) provided images that could be appropriated by bureaucrats and clergy to help shape the Spanish imaginary of empire in the face of hyper-critical European assessments of Spain. If for Arce y Miranda casta paintings signified a form of calumny, for others such as Lorenzana and Bucareli they could represent images of colonial resources and subject populations, and simultaneously signify Spain's participation in the ‘culture of curiosity’ through the commissioning and collection of such artifacts, and in the broader scientific developments of the period. Arce y Miranda's reactions reflected

“I try with my pictures to raise a question, to provoke a debate, so that we can discuss problems together and come up with solutions.” In this essay I aim to address the question how does Sebastiao Salgardo’s activist photography reflect against media journalism? I will be looking into a brief history of the movement of activist photography and will also looking into Sebastian’s background. I believe that Salgardo paints a true picture of what is going on in the country’s around the world, he visits these places and then becomes at one with the people in these situations, he wants to provoke debates and discussions into these problems in order to inform people of the true problems. Its true that in the 1980’s Salgardo’s work was deemed

No artist expresses more freedom than the brut artist of the 20th century. Many of this work was based on perception and interaction that came from different surroundings from which the artist was exposed, and the work was not properly recognized to the believe of being work of a much lower quality. This essay will primarily cover Chapter seven, eight, ten, eleven, twelve, thirteen, fourteen and fifteen from the book Raw Creation Outsider Art and Beyond. It will also cover some of the artwork form the book mainly focusing in composition.

In this essay, a comparison and contrast of Hito Steyerl (born 1966) with that of Francisco de Goya (1746-1828) work of art will be made. These artists have been selected to demonstrate that they both can be defined as revolutionary artists but within separate art periods. To demonstrate this, it must first be defined what is revolutionary art and how does it affect us? The history of art has gone through constant changes from movement to movement, with ideas being portrayed differently. Revolutionary art is something that people take notice the many years after being presented. It leaves a lasting impression no matter the genre or means to make it.

In Barnaby Nygren’s article, Fra Angelico 's San Marco Altarpiece and the Metaphors of Perspective, the rediscovery of linear perspectives and how it altered the planar space for those artist who worked in two-dimensions was methodically analyzed. Reviewing historical data and art works, Nygren revealed that artwork created prior to the 15th century was typically a religious endeavor designed to prompt devout worship through visual recollection of spiritual events. In essence, it was religious short-hand designed to trigger public recognition from mostly illiterate, but devote, religious viewers. Religious paintings were more symbolic. As such, these renditions were generally flat and unrealistic. This is due, largely in part, to the era in which the paintings were produced. Because the traditional style that had been used since the Egyptian and Byzantine periods lacked realism, not much thought was given to the use of linear perspective to create more realistic works. In fact, it wasn’t until the 15th century that realism even became valued.

In this way, to render the semantic extent of the term, the meanings of forma and formatio and imago and imitatio are involved as well; and the following two concepts are implied: firstly the concept of production according to an order that gives rise to a form (to something subsident on the basis of mutually congruent rules) and secondly the conformation of the said act to an image given as assumption, as a model endowed with an absolute value which this image must resemble or aim for.

Ernesto Guevara Iconic Status Aged twenty-four, Ernesto Guevara pens a regular letter home to Rosario, Argentina from his flat in Mexico. It concludes: "Things are moving with tremendous speed and no one can know, or predict, where or for what reason one will be next year"[1]. This, perhaps, is one indication of the mans legendary appeal - not as a hero of socialism or political ideologist, but as a free-spirited and non-fictitious adventurer. After all, how many of us could end our letters with the same thrilling poignancy, at any age?

It is when the artist begins to add nuances and harmonies to the melody that the work becomes inaccessible to the unlearned ear, thus isolating a portion of the audience. When works of art are created to express the universality of humankind they are more beneficial to it. As an example, this view is dissimilar to the view if Dante, who believed that the language of a work should be elevated. Tolstoy argues the more details that are given in the work the more opportunities for disconnection from its message the audience has (391).