Suchergebnisse

Abstract Five interrelated case studies from the sixteenth to the twentieth centuries develop the dynamic contrast between portraiture and pictorial genres newly invented in and about Latin America that do not represent their subjects as individuals despite the descriptive focus on the particular. From Jean de Léry's genre-defining proto-ethnographic text (1578) about the Tupinamba of Brazil to the treatment of the Creole upper class in New Spain as persons whose individuality deserves to be memorialized in contrast to the Mestizaje, African, and Indian underclass objectified as types deserving of scientific study, hierarchical distinctions between portraiture and ethnographic images can be framed in historical terms around the Aristotelian categories of the universal, the individual, and the particular. There are also some intriguing examples that destabilize these inherited distinctions, such as Puerto Rican artist José Campeche's disturbing and poignant image of a deformed child, Juan Pantaléon Aviles, 1808; and an imaginary portrait of Moctezuma II, c. 1697, based on an ethnographic image, attributed to the leading Mexican painter Antonio Rodriguez. These anomalies serve to focus the study on the hegemonic position accorded to the viewing subject as actually precarious and unstable, always ripe for reinterpretation at the receiving end of European culture.

Baroque needs to be thought across chronological and geographical divides to connect architecture and dance, painting and natural science, philosophy, sculpture and music (and not in the sense of representations of music) and, above all, in relation to encounters with difference – heavenly, earthly, social, political, religious, geographical. What possibilities in baroque are open now in relation to present dilemmas in art history and world events? Baroque enables – arguably, it demands – a radical rethinking of historical time – and a rethinking of familiar history. It permits a liberation from periodization and linear time, as well as from historicism. While the scholars below acknowledge that baroque is often equated with style or historical period, it is most productively thought beyond them. Mieke Bal has argued that baroque epistemology permits an "hallucinatory quality" of relation between past and present that also allows a release from a supposed academic objectivity, while insisting that the engagement with the past should remain discomfiting and profoundly disturbing.1 Instead of repressing the past and time, creative retrospection allows its implications to emerge. In its materiality and bodiliness, baroque undermines resolution, gropes towards fragmentation, overgrows, and exceeds. Baroque architecture may be seen as overflowing, an excess of ornamental exteriority and evasive proliferation. This brings to the fore the question of surface. Andrew Benjamin's approach to surface as neither merely structural nor merely decoration in architecture is important here. Baroque time and form impinge on each other – that is, not simply the time that it takes to process point of view into form, but of form into point of view.2 Thus the pursuit is for a baroque vision of vision, a baroque audition of hearing, and a multitemporality. The question of materiality (not mere matter, materials, or technique) must also come into play. ; Fil: Farago, Claire. State University of Colorado at Boulder; Estados Unidos ; Fil: Hills, Helen. University of York; Reino Unido ; Fil: Kaup, Monika. University of Washington; Estados Unidos ; Fil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina ; Fil: Baumgarten, Jens. Universidade Federal de Sao Paulo.; Brasil ; Fil: Jacoviello, Stefano. Università degli Studi di Siena; Italia