Colonial Americas - Weebly

Colonial Americas

81. Frontispiece of the Codex MendozaViceroyalty of New Spainc. 1541-1542 CEInk and color on paper

• Record of information about the Aztecs commissioned by the first viceroy of Mexico, Antonio de Mendoza.

• The artists were indigenous.

• Was stolen by French pirates and ended up in the hand of the cosmographer of the king, Andre Thevet, whose name appears on the front.

• Important historical document that corroborates other information we have regarding the Aztecs.

• For example the front cover shows how the Tenochtitlan was divided by canals into 4 parts intended to mirror the organization of the universe and the 4 cardinal directions.

• On the edges are year glyphs. Aztecs had a 52 year cycle based on solar calendar.

• At the bottom is scenes of military conquest.

• In the center, an eagle on a cactus growing from the midst of Lake Texcoco which aligns with Aztec legend.

• Today’s Mexican flag depicts the same image.

• War shield represents an unpeaceful settlement.

• Above eagle shows an early version of Aztec temple where the skull rack (to the right) can be found.

• Different plants dot the four quadrants.

• The 10 men led the Aztecs to this location with a line attaching their name glyphs.

• The man with the gray face is Tenoch, the priest.

90. Angel with Arquebus, Asiel Timor DeiMaster of Calamarca (La Paz School)c. 17th century CEOil on canvas

• Guns, angels and fashion

• Depictions of androgynous, stunningly attired, harquebus carrying angels were produced from the late-seventeenth century through the nineteenth century in the viceroyalty of Peru.

• The artist painted a series depicting angels with harquebuses. This one, as described in the titles, fears God.

• The CR held the idea that the CC was an army and angels were its soldiers; this painting represents that notion.

• Oddly enough depictions of angels were banned by the CC during this time; depictions flourished in the new world.

• Indigenous people associated angels with natural phenomena (hail, comets, stars, and now guns)

94. Screen with the Seige of Belgrade and hunting sceneCircle of the Gonzalez Familyc. 1697-1701 CETempera and resin on wood, shell inlay

• Biombo-folding screen; inspired by Japanese folding screens; craze for Japanese inspired works.

• Owned by the viceroy of Mexico.

• Japanese-Mexican screen, depicted scene from central Europe, in Mexico.

• Only surviving biomboenconchado-screen with mother of pearl inlay.

• Battle scene is an expression of viceroy’s power.

Siege of Belgrade

• Hunting scene is more decorative.

• This particular scene begun as a tapestry in the Medici house, which then became a print, and then the screen in Mexico.

• Major Japanese influence, but also classical elements.

• This side viewed by women; for social engagements. Hunting Scene

95. The Virgin of GuadalupeMiguel Gonzalezc. 1698 CEBasilica of Guadalupe, Mexico City, 16th century CEOil on canvas on wood, inlaid with mother of pearl

• Mother of pearl gives an iridescent, shiny quality to the work.

• Surrounded by sunlight, stars on her cloak, standing on the moon, supported by an angel.

• Woman of the Apocalypse from the Book of Revelations.

• Virgin of Guadalupe appears to an indigenous man names Juan Diego, 10 years after Aztec defeat, in Mexico city, where basilica is located. She speak his language and tells him to put a shrine on the hill. Juan Diego opens clock filled with roses and this image appears.

• Time of serious work to convert indigenous people, this vision shows righteousness of the Spanish.

• Dark Virgin-ashen skin, significant for darker skin people of Mexico, “I am black but beautiful” Song of Songs.

• Very popular in Mexico, patron saint of Mexico City.

• Supposedly responsible for many miracles.

97. Spaniard and Indian produce a MestizoAttributed to Juan Rodriguez Juarezc. 1715 CEOil on canvas

• Mestizo-European Spanish and Native American baby.

• Many paintings like this document the inter-ethnic mixing.

• This is a genre of painting, known as pinturas de castas, or caste paintings—but the scenes are largely fiction.

• Often pictured with some inscription, this genre also classifies people into categories based on their racial makeup and appearance.

• Produced in sets of 16, or all 16 on one canvas. The setting, clothing, and activity racially labels the individuals.

• The first is always a Spanish man and an elite Indigenous woman, with their mestizo child.

• As you move on the mixing progresses and people are denoted with terms such as castizo “burned tree” or albino torna atrás“Return-Backwards” or No te entiendo “I-Don’t-Understand-You” and tente en el aire “Hold-Yourself-in-Mid-Air”.

• People become darker and less civilizes through the scenes.

• Indigenous people who did not conform were called mecos or “barbarians”.

• Essentially the more European you are, the closer you are to social and racial hierarchy or social status is related to racial makeup.

• Why were these commissioned?