Independence and its Heroes - Sacramento State

Independence and its Heroes - Sacramento State

Independence and its Heroes Independenceremained 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. (Dawn Ades p.7) Spanish and Portuguese America, 1784 Haitian Revolution (17911804)

Http://www.youtube.com/watch?v=SmnZta nvjLI&feature=related Jacob Lawrence (US. 1917-2000) General Toussaint L'Overture, 1986, silkscreen on 2-ply rag paper, 28 3/8 x 18 1/2 inches

Haitian bank note The Americas in 1810 United States 1776 war of independence resonated throughout the Americas. Napoleons occupation of

Spain in 1808 triggered independence movements in Spanish America. In 1810, when Spanish resistance to Napoleon was about to collapse completely, Creole Americans in Mexico,

Venezuela, New Granada*, Argentina, and Chile launched independence movements. *Viceroyalty of new Granada (1718-1819) included Colombia, Ecuador, Panama, Venezuela,Guyana, and parts

of northwestern Brazil, northern Peru, Costa Rica and Nicaragua. (left) Claudio Linati, Miguel Hidalgo, from Costumes du Mexique, Brussels, 1828 (center and right) Juan OGorman (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 paper Hidalgo, 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

Stairway roof with portrait of Miguel Hidalgo by Jose Clemente Orozco in the Palacio del Gobierno. Guadalajara, Jalisco, Mexico, 1937, fresco Antonio Salas (attributed), Portrait of Simon Bolivar 1829, o/c, 23 x 18. Bolivar (17831830), 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 Pedro Jos 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

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 Janeiroin 1826 with the French painter J.B. Debret, who trained in [Jacques Louis]Davids studio, as director. In Peru, the Academy was founded in 1919. (coinciding

with the arrival of modern art) (Ades) Natalia Majluf, Ce nes 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 centuryyoung Creole Americans traveled to Paris, London, and Rome not as exiles or migrs but as cosmopolitans, as participants in a world culture. but the international community has systematically rejected any sign of their sameness. (Majluf) Francisco Laso, The Indian Potter (or Dweller in the Cordillera)

1855, o/c, 44 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 Jos Correia de Lima (Rio de Janeiro, 1814 -1857) Portrait of Simon the Sailor, c. 1855, oil on canvas, 37 x 29 inches. One of first academic portraits of an AfricanBrazilian.

Jos Ferraz de Almeida Jnior (Brazil 1859-1899), The Guitar Player, 1899, o/c, 56 H, Pinocoteca do Estado de Sao Paolo Academic genre paintings costumbrismo and realism (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. Juan Cordero (Mexico, 1824-1884), The Bather, c.1860, oil on canvas, 59 X 45 in.

Corderos draped nude shocked Mexican visitors at a 1864 exhibition. 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 Americas as political propaganda

for self-determination of national identity. Martn Tovar y Tovar (Venezuela, 1827-1902), The Battle of Carabobo (detail), 1887, one of six canvas murals for the dome of the Saln Elptico in the capitol building of Caracas, Venezuela 1887. Simn Bolvars revolutionary army won the 1821 battle and entered Caracas to claim independence for Venezuela.

Jos Maria Obregn, The Inspiration of Columbus, 1856, oil, 58 high 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

Felix Parra, The Massacre of Cholula (detail, below right), 1877, oil on canvas, 31 x 41 inches, National Museum of Art, Mexico City. Parras painting documents an incident of appalling genocide ordered by Cortes in 1519 as described in Brevsima Relacin de la Destruccin de las Indias (1552) by the Spanish missionary Fray Bartolom de las Casas. Subjects are objects of paternalism typical

of 19th century writing about the contemporary Indian. Cholula, a Mexican city second only to Tenochtitlan in 1519 and the arrival of Cortes. The largest man-made monument in the world, the great temple of Quetzalcoatl at Cholula from a distance looks like a small mountain with a Catholic cathedral at the crest.

(right) a fraction of a staircase on one side of the pyramid has been restored to its former state. Felix Parra, Friar Bartolom 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. Jos Maria Obregn, Discovery of Pulque, 1869, oil on canvas 73 x 91 in., Museo Nacional de Arte, Mexico City. Xochitl, in this story, the discoverer of pulque, presents it to Tecpancaltzin. Academic Neoclassicism in Mexico. European throne scene and Europeanized features, lightened skin, Greek postures, all meant to appeal to the audiences for and patrons of academic painting.

Leandro Izaguirre, Torture of Cuauhtmoc, 1893, oil on canvas, over 9 x 14 feet, National Museum of Art, Mexico City. Cuauhtmoc (c.15021525) was the Aztec ruler of Tenochtitlan from 1520 to 1521. Painted for the Chicago Worlds Fair of 1893. Historicist indigenism

Jos Mara Velasco (Mexican,1840-1912) Self Portrait, 1894, oil on canvas, 22 x 16.5, Museo Nacional de Arte de Mxico Jos Mara Velasco, Templo de San Bernardo (San Bernardo Church), 1861 oil on paper mounted on canvas, 13 X 17 inches A study Velasco did as a student at the Academy San Carlos in Mexico City. It

shows the destruction of a church to create city boulevards. Modernization of Mexico is documented in Velascos oeuvre with obvious ambiguity. (right) Eugenio Landesio (Italian active in Mexico City), The Valley of Mexico, n.d., oil on canvas, Museo Nacional de Arte, Mexico City. Velascos teacher at the Academy of San Carlos painting is in the 17 th century tradition of Claude Lorraine

(left) Claude Lorraine (French, 1604-1682), Pastoral Landscape 1638 Jos Mara Velasco, View of the Valley of Mexico from the Hill of Santa Isabel, 1877, oil on canvas, 90 inches across, Museo Nacional de Arte, Mexico City. Velascos most famous painting. Compare with Eugenio Landesio, The Valley of Mexico. Note wild and rugged features which resist the smoothing and unifying eye (Ades)

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

Jos Maria Velasco, Valley of Mexico from the Hill of Santa Isabel, 1877, o/c, 53x76 site of Mexico City, and the Teotihuacan, Toltec and Aztec civilizations (right) Thomas Cole (English-American, 1801-1848, Hudson River School) View from Mt. Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836 Velasco exhibited 68 paintings in Paris at the Universal Exposition of 1889 and

saw Impressionism for the first time and painted a few Impressionist landscapes in Paris, but he remained an academic painter. Claude Monet, Impression, Sunrise, 1872, oil on canvas, 18.9 x 24.8 inches, Muse Marmottan Monet, Paris, Jos Guadalupe Posada (Mexican printmaker,1852-1913)

(left) Jos Guadalupe Posada (Mexican, 1852-1913), Artists Purgatory (right) J.J.Grandville (Jean Ignace Isidore Grard, French, 1803-1847) Chamber of Deputies, 1867, engraving 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 Jos Guadalupe Posada, Calavera of the Newspapers, 1889-95 type metal engraving, MoMA NYC

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.

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