Additional journal/reading assignment: “Royal Instructions for the Viceroy Mendoza” José Marti, “Our America,” 1891, an

1. Additional journal/reading assignment: • “Royal Instructions for the Viceroy Mendoza” • José Marti, “Our America,” 1891, and • “The History of Mexican Independence” All 3 are on course website “Readings.”

2. For the quiz on October 15, be prepared to write a 25-minute essay that brings together all the readings and lectures on the colonial era through the concept of identity in representations of Latin America by both European and Latin American artists. Focus on at least three artworks and include full identification: names, dates, titles, locations (if architecture), and as many facts as possible.

3. Independence and its Heroes Independence…remained by far the most important moment for the new nations that emerged; representations of its heroes and martyrs have become talismans or icons signifying those beliefs, and reinterpreted with reverence, or with irony, by artists in the twentieth century for whom national or Latin American identity in cultural and political terms remains an unresolved and therefore potent issue. (Ades p.7)

4. (left) Claudio Linati,Miguel Hidalgo, from Costumes du Mexique, Brussels, 1828(center and right) Juan O’Gorman (Mexican, 1905-1982), detail from Chapultepec Castle (now National Museum of History, Mexico City) mural showing Hidalgo, c.1944; Portrait of Miguel Hidalgo, n.d., preparatory study for mural, charcoal on paperHidalgo, a parish priest, initiated the 1810 indigenous uprising against Spain. However: “Both culturally and economically, Independence was for the creoles, not the Indians.” (Ades) “Father of Mexico”

5. Stairway roof with portrait of Miguel Hidalgo by Jose Clemente Orozco in the Palacio del Gobierno. Guadalajara, Jalisco, Mexico, 1937, fresco

6. Antonio Salas (attributed), Portrait of Simon Bolivar 1829, o/c, 23” x 18”. Bolivar (1783-1830), from a wealthy Venezuelan creole family, led independence wars in the present nations of Venezuela, Colombia, Panama, Ecuador, Peru, and Bolivia, gaining independence for most of the northern part of South America “It will be said that I have liberated the new World, but it will not be said that I perfected the stability and happiness of any of the nations that compass it.” “We have ploughed the sea” Bolivar

7. Pedro José Figueroa, Simon Bolivar, Liberator and Father of the Nation, 1819, oil on canvas, Quinta de Bolivar, Colombia; Indian woman as “America” or the New Republic

8. Academies and History Painting “The Royal Academy of san Carlos in Mexico City, founded in 1785, was the first academy of art in America, and the only one established under colonial rule…. In Brazil, the Academia Imperial de Belas Artes was founded in Rio de Janeiro…in 1826 with the French painter J.B. Debret, who trained in David’s studio, as director…. In Peru, the Academy was founded in 1919….” (coinciding with the arrival of modern art) (Ades)

9. Natalia Majluf, “Ce n’es pas le Peru,” or, the Failure of Authenticity: Marginal Cosmopolitans at the Paris Universal Exhibition of 1855”“The movement of artists and intellectuals from Latin America to metropolitan centers (and usually back) increased dramatically after independence from Spain in the early nineteenth century…young Creole Americans traveled to Paris, London, and Rome not as exiles or émigrés but as cosmopolitans, as participants in a world culture.” “…but the international community has systematically rejected any sign of their sameness.” (Majluf)

10. Francisco Laso, The Indian Potter (or Dweller in the Cordillera), 1855, o/c, 4’4” H., Lima “The same comparative context that rejected the cosmopolitanism of the Latin American artists served simultaneously to locate France at the very center of the international art scene.” Majluf

11. José Ferraz de Almeida Junior (Brazil 1859-1899), The Guitar Player, 1899, o/c, 56” H, Pinocoteca do Estado de Sao Paolo. Academic genre paintings “costumbrismo” and “realism”

12. (left) Aztec goddess, Coatlique, c. 1500 C.E. discovered in 1790, Mexico City; (right) Praxiteles, Hermes & Dionysus, 4th Century B.C.The Royal Academy of San Carlos in Mexico City was thoroughly European in its aims and practices. Students studied from a selection of plaster casts of Greek and Roman sculptures sent from Spain. The question of “beauty” of European versus ancient Indigenous Mexican work was discussed.

13. Juan Cordero (Mexico, 1824-1884), The Bather, c.1860, oil on canvas, 59 X 45 in. Cordero’s draped nude shocked Mexican visitors at a 1864 exhibition.

14. Juan Cordero (Mexico, 1824-1884), Columbus Before the Catholic Monarchs, 1850, o/c, 68” H. First history painting of an American subject seen by Mexican viewers. Academic history paintings were popular in the New World.

15. Martín Tovar y Tovar (Venezuela, 1827-1902), The Battle of Carabobo (detail), 1887, one ofsix canvas murals for the dome of the Salón Elíptico in the capitol building of Caracas, Venezuela 1887. Simón Bolívar’s revolutionary army won the 1821 battle and entered Caracas to claim independence for Venezuela.

16. José Maria Obregón, The Inspiration of Columbus, 1856, oil, 58” high

17. Arturo Michelena (Venezuela 1863 -1898), Miranda in La Carraca, 1896, oil on canvas, Galeria de Arte Nacional, Caracas. Comparison (right) is Jacques-Louis David, Death of Socrates, 1787. Neo-Classicism, Metropolitan Museum of Art, New York

18. Anonymous, Castes, 18th century, oil on canvas, 58 x 41” Reading: “Dispossession, Assimilation, and the Image of the Indian in Late Nineteenth Century Mexican Painting,” by Stacie Widdifield

19. The captions in the above paintings say, top, "from mulato and mestiza, quadroon," bottom, "from quadroon and mestiza, coyote." Identifications varied in different sets of "caste paintings." Some, for instance, defined a "coyote" as an Indian and white mix without any African. What was Stacie Widdifield’s thesis in “Dispossession, Assimilation, and the Image of the Indian in Late- Nineteenth-Century Mexican Painting”?

20. Felix Parra, The Massacrre of Cholula (detail, below right), 1877, oil on canvas, 31 x 41 inches, National Museum of Art, Mexico City Subjects are “objects of paternalism typical of 19th century writing about the contemporary Indian.”

21. Felix Parra, Friar Bartolomé de las Casas, 1875, oil on canvas, Museo Nacional de Arte, Mexico City. The woman turns to the Christian friar and not the Aztec god.

22. Isidro Martinez, The Princess Papantzin, 1880, oil on canvas, 44 x 70inches. Museo de Bellas Artes de Toluca, State of Mexico. Sister of Moctezuma II, Papantzin’s Europeanized features are a sign of her conversion to Christianity.

23. José Escudero y Espronceda, Portrait of Benito Juarez and Margarita Maza de Juarez, 1890, oil on canvas, 28 x 23 inches, Museu Nacional de Historia, Mexico City

24. José Maria Obregón, Discovery of Pulque, 1869, oil on canvas73 x 91 in., Museo Nacional de Arte, Mexico City Xochitl, who discovered pulque, presents it to Tecpancaltzin Academic Neoclassicism in Mexico

25. Leandro Izaguirre, Torture of Cuauhtémoc, 1893, oil on canvas, over 9 x 14 feet, National Museum of Art, Mexico City. Cuauhtémoc (c.1502–1525) was the Aztec ruler of Tenochtitlan from 1520 to 1521. Painted for the Chicago World’s Fair of 1893. Historicist indigenism

26. Traveler-Reporter ArtistsProduced by European artists between1810-1860 in all parts of Latin AmericaSubjects were empirical: scientific, topological, and socialNature, Science, and the PicturesqueProduced by European and Latin American artists for in the decades following Independence

27. (left) Albert Eckhout (Dutch, ca.1610-1666) Tarairiu Woman and Tarairiu Man, 1641, over 8 ft tall, oil on canvas, National Museum of Denmark

28. Frederick Catherwood (English, 1799-1854), 1844, lithograph, Classic Maya ruins at Copán, Honduras, Stele D (435-822 CE), depicting ruler, Eighteen RabbitCatherwood was accompanied by the US writer and patron, John Stephens. Stephens asserted that the ancient Maya were the ancestors of the living Maya, a theory disputed at the time. Photograph showing detail of portrait stele

29. Frederick Catherwood (English, 1799-1854), 1844, Maya, Cenote of Bolenchen, Yucatan, Mexico, lithograph plate from Views of Ancient Monuments in Central America, Chiapas and Yucatan, 1844, Royal Institute of British Architects, London. Catherwood’s books were best sellers in Europe.

30. Main temple at Tulum, by Catherwood, from Views of Ancient Monuments, 1844

31. Johann Rugendas (German, 1802-1858) (right) Study of Palm Trees, c. 1831, oil sketch; (left) Costumes in Rio, 1823; (center) Slave Hunter, 1824 From Voyage Pittoresque dans le Brésil (Picturesque Voyage to Brazil), with more than 100 illustrations, still one of the most important documents about 19th-century Brazil.

32. Johann Rugendas, Indians on a Farm, 1824

33. (left) Joseph Skinner (British), 2 plates from The Present State of Peru, London, 1805. Costume is invented by the artist(right) Carl Nebel (German) Indian Charcoal-Makers, watercolor reproduced as lithograph in Voyage Picturesque and Archeological in the Most Interesting Parts of Mexico, Paris, 1836 2005 facsimile of Skinner’s 1805 book available through Amazon.com

34. Carl Nebel (German) watercolor, 1829-1834, reproduced as a lithograph in Voyage Picturesque and Archeological in the Most Interesting Parts of Mexico, Paris, 1836

35. Edouard Pingret (French, 1788-1875), (left) Indian, oil on canvas, after 1857; (right) Waterseller, c. after 1857, o/c, 23” HFrom 1850 to 1855 Pingret lived and worked in Mexico City, exhibiting annually at the Academia de Bellas Artes. Costumbrismo Catalogue of Pingret’s costumbrismo paintings

36. (left) Claudio Gay (French) Costumes of Country People, Physical and Political Historical Atlas of Chile, Paris, 1854(right) Juan Manuel Blanes (Uruguayan), Dusk, n.d., oil on cardboard, 9 ½ “ H

37. Carmelo Fernandez, (left) Mestizo Farmers of Anis, Ocana Province(right) Notables of the Capital, Santander Province, Colombia , Colombia, 1850-9, watercolor, National Library, Bogota

38. Christiano Junior, Cartes de visite, 1860s, Rio de Janeiro; detail on right

39. Anonymous, Women of Lima, n.d., photograph, Lima

40. José María Velasco (Mexican,1840-1912)

41. José María Velasco, Templo de San Bernardo (San Bernardo Church), 1861oil on paper mounted on canvas, 13 X 17 ½ inches Velasco, in the context of the buildings section of his class in landscape painting, as a student at the Academy San Carlos in Mexico City, shows how, with the pretext of progress and modernization, the monasteries were destroyed to "straighten out" the contours of the city. Modernization of Mexico is documented in Velasco’s oeuvre with obvious ambiguity.

42. (right) José Maria Velasco, Valley of Oaxaca, 1888, oil on canvas, 42 x 63” (left) Claude Lorraine (French, 1604-1682), Pastoral Landscape 1638

43. Velasco, Metlac Ravine, Viewed from near the Station in Fortin, 1897, o/c, 41” h(right) anonymous photograph of Metlac ravine, 1910Modernization of Mexico

44. José Maria Velasco, Valley of Mexico from the Hill of Santa Isabel, 1877, o/c, 5’3”x7’6”(right) Thomas Cole (English-American, 1801-1848, Hudson River School) View from Mt. Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836

45. José Guadalupe Posada (Mexican printmaker and graphic satirist,1852-1913)

46. (left) José GuadalupePosada (Mexican, 1852-1913), Artists’ Purgatory (right) J.J.Grandville (Jean Ignace Isidore Gérard, French, 1803-1847) Chamber of Deputies, 1867, engraving

47. In 1900 Maucci Brothers, a Spanish publisher, commissioned Posada to illustrate a series of pamphlets for children on the history of Mexico. Each pamphlet measuring 4 3/4 x 3 1/4 in. is approximately 16 pages. The cover illustrations are probably the only mechanically produced chromolithographs that Posada ever did. Jean Charlot collection, University of Hawaii

48. José Guadalupe Posada, Calavera of the Newspapers, 1889-95type metal engraving, MoMA NYC

49. Jose Posada, Streets of the City of Mexico on the Morning of 9 February 1913, n.d., zinc engraving. (right) Skeletons at a fractional price as never seen before in all of the Capital.Broadsides, calaveras and corridos were sold at street corners to a largely illiterate audience.