Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910
Publication Year: 2013
The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to “revive” buen gusto (good taste) are the themes of this collection of essays. The contributors provide new insights into neoclassicism and buen gusto as cultural, not just visual, phenomena in the late colonial and early national periods and promote new approaches to the study of Latin American art history and visual culture.
The essays examine neoclassical visual culture from assorted perspectives. They consider how classicism was imposed, promoted, adapted, negotiated, and contested in myriad social, political, economic, cultural, and temporal situations. Case studies show such motivations as the desire to impose imperial authority, to fashion the nationalist self, and to form and maintain new social and cultural ideologies. The adaptation of classicism and buen gusto in the Americas was further shaped by local factors, including the realities of place and the influence of established visual and material traditions.
Published by: University of New Mexico Press
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T.schis v.scol.scume has been inf.scor.scmed by new research directions arising from individual and group initiatives and vigorous discussions of issues among colleagues in public and private. T_he conversations and critiques aris-ing from these formal and informal scholarly gatherings led to a more nu-anced appreciation of the complex relationship between buen gusto and ...
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...in 1813 the p.scr.scof.scessor.sc of.sc mathematics don Pedro Abad Villareal, of the college and seminary of San Carlos in Havana, Cuba, wrote, ?Architecture as a liberal art, and one of the fine arts, has deserved a very distinguished place among cultured nations . . . for which in modern times many academies of fine arts have been erected in order to revive good taste, which until now, has ...
PART ONE: Redefining Urban Space and the Promotion of Classicism
1: Manuel Tolsá’s Equestrian Statue of Charles IV and Buen Gusto in Late Colonial Mexico
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Dur.scing his tw.sco-month stay in M.scex.scico in 1781, the soldier and future Spanish minister of state Francisco Saavedra de Sangronis noted in his jour-nal the prevalence of ?bad taste.? Although he found Mexico City?s outskirts to be ?extremely beautiful,? the fountains and decorations were ?in bad taste.? As for the sanctuary of Guadalupe, ?there is little taste in its decora-...
2: Gothic Taste vs. Buen Gusto: Creolism, Urban Space, and Aesthetic Discourse in Late Colonial Peru
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In P.scer.scu in the second hal.scf.sc of.sc the eighteenth century, viceregal author-ities promoted an aesthetic discourse that dif_ferentiated two opposing scenes. On one hand, it was a discourse favorable to academicism and classicism, part of a modernizing project to impose order, control, buen gusto (good taste), and uniformity in colonial practices. Buen gusto came to be associated ...
3: El Templete: Classicism and the Dialectics of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba
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O.scn M.scar.scch 19, 1828, H.scav.scana, C.scuba, inaugur.scated a civic memorial for the east side of the city?s Plaza de Armas. T_he event climaxed a three-day festival of_f_icially designated to honor the founding of the city and the name day of Spain?s Queen Maria Josepha, wife of his majesty Ferdinand VII (r. 1813?1829, 1833). T_he work commemorated the site of a symbolic ceiba tree, ...
4: Neoclassical Pompai in Early Twentieth-Century Cartagena de Indias, Colombia
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T.schis chap.scter.sc addr.scesses the use of antiquity in the shaping of identities in new Latin American republics in the early twentieth century. Specifically, it investigates the aesthetics of public neoclassical monuments within the politics of self-representation in Colombia. T_his study considers neoclassi-cism as a cosmopolitan element that allowed Latin American nations to ...
PART TWO: Imprinting Classicism and Its Consumption
5: A Taste for Art in Late Colonial New Spain
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T.sche descr.scip.sction of.sc the f.scestiv.scities surrounding the December 1796 installation of a new equestrian portrait of Charles IV, as chronicled in the Gazeta de M?xico, Mexico City?s biweekly newspaper, concluded with the following notice: ?At the order of the Most Excellent Viceroy, Joseph Joaqu?n Fabregat, Director of Engraving at the Royal Academy of San Carlos, ...
6: The Plantation Landscape and Its Architecture: Classicism, Representation, and Slavery
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A.scr.scchitectur.sce both r.scev.sceal.scs and hides, and what a viewer is permit-ted to see, or not to see, depends on many kinds of cultural determinations and social circumstances. In modern societies the concern with privacy is an obvious factor.1 A far older, though related, concern is that with honor. It was central for example, in ancient Rome, where honor depended on the control ...
7: Buen Gusto and the Transition to Nation: 1830–1850
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A.scs discussed in the intr.scoduction to this volume, buen gusto encom-passed more than a visual style, operating to cohere colonial subjects of the viceroyalties and, subsequently, citizens of emerging nations around a sense of collective self_hood. Buen gusto, then, operated dif_ferently at dif_ferent times, ref_lecting ongoing sociopolitical transitions. By the last decades of the ...
8: A Western Mirage on the Bolivian Altiplano
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A.scbout f.scif.scteen year.scs ago, P.scer.scuv.scian president Alberto Fujimori cited three unrivaled pre-Columbian sites in South America: Machu Picchu, Chav?n de Hu?ntar, and Kuelap. Of the three, Kuelap is by far the most ne-glected by the modern gaze, even though it has been known to the Western world since the mid-nineteenth century. In contrast, Hiram Bingham?s lost ...
PART THREE: Dividing Lines: Practices and Problems
9: The Language of Line in Late Eighteenth-Century New Spain: The Calligraphic Equestrian Portrait of Bernardo de Gálvez (1796)
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T_he Calligraphic Equestrian Portrait of Bernardo de G?lvez (1796)T_he birth of print signaled not the death of script, but its conceptual thetic value . . . has prevented historians from fully examining the ways in which the work is related to all the other institutions and O.scn N.scov.scember.sc 30, 1795, the standing viceroy in New Spain, Manuel de la ...
10: Art and Viceregal Taste in Late Colonial Lima and Buenos Aires
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V.scicer.scoy M.scanuel.sc de A.scmat y Junient was a zealous Bourbon Reform?era leader in the Viceroyalty of Peru. His memoirs and correspondence teem with lengthy descriptions and praise of his accomplishments in improving colonial bureaucracy, reestablishing the vigor of the military, and ensuring public order throughout the region. T_hough proud of all of his successes, ...
11: From Baroque Triumphalism to Neoclassical Renunciation: Altarpieces of the Cathedral of Cuzco in the Era of Independence
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Altarpieces of the Cathedral of Cuzco in the Era of IndependenceIn the year.scs l.sceading up.sc to and following Peru?s independence from Spain in 1824, Peruvians professed many dif_ferent loyalties, in politics, reli-gion, and art. Movements such as the revolt led by the native Andean leader T?pac Amaru II (1780?1783) called for a complete break from Spanish rule ...
12: Buen Gusto and Classicism in the Late Nineteenth Century: An Appraisal in the Context of the 1881 Centennial of Mexico’s Academy of San Carlos
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T.sche maj.scor.scity of.sc the essays in this volume shape the problems of buen gusto (good taste) and classicism in Latin America from the perspective of the late eighteenth-century initiation of the Bourbon Reforms and their af_teref_fects, as well as the initiation of nation building in the first half of the nineteenth century. T_hey also demonstrate that classicism and its apparent correlates of ...
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Page Count: 312
Publication Year: 2013