Lettered Artists and the Languages of Empire: Painters and the Profession in Early Colonial Quito

作者: Susan Verdi Webster 作者

出版社: University of Texas Press

出版时间: 2017-09

ISBN: 1477313281 或 9781477313282

定价: 601.00

装帧: 精装

开本: 其他

页数: 352页

正文语种: 英语

分类: 外文古旧书>英文书>文学

Quito, Ecuador, was one of colonial South America's most important artistic centers. Yet the literature on painting in colonial Quito largely ignores the first century of activity, reducing it to a "handful of names," writes Susan Verdi Webster. In this major new work based on extensive and largely unpublished archival documentation, Webster identifies and traces the lives of more than fifty painters who plied their trade in the city between 1550 and 1650, revealing their mastery of languages and literacies and the circumstances in which they worked in early colonial Quito. Overturning many traditional assumptions about early Quiteno artists, Webster establishes that these artists-most of whom were Andean-functioned as visual intermediaries and multifaceted cultural translators who harnessed a wealth of specialized knowledge to shape graphic, pictorial worlds for colonial audiences. Operating in an urban mediascape of layered languages and empires-a colonial Spanish realm of alphabetic script and mimetic imagery and a colonial Andean world of discursive graphic, material, and chromatic forms-Quiteno painters dominated both the pen and the brush. Webster demonstrates that the Quiteno artists enjoyed fluency in several areas, ranging from alphabetic literacy and sophisticated scribal conventions to specialized knowledge of pictorial languages: the materials, technologies, and chemistry of painting, in addition to perspective, proportion, and iconography. This mastery enabled artists to deploy languages and literacies-alphabetic, pictorial, graphic, chromatic, and material-to obtain power and status in early colonial Quito.
Susan Verdi Webster is the Jane Williams Mahoney Professor of Art History and American Studies at the College of William & Mary. She has published extensively in both English and Spanish on the history of painting, sculpture, architecture, and visual culture in Spain, Ecuador, and Mexico.
AcknowledgmentsIntroductionPart I. ContextsChapter 1. Lettered Painters and the Languages of EmpireChapter 2. Materials, Models, and the MarketChapter 3. The Objects of PaintingChapter 4. Painters and the ProfessionPart II. PaintersChapter 5. First Generations, ca. 1550-1615Chapter 6. Pintar la figura de la letra: Andres Sanchez Gallque and the Languages of EmpireChapter 7. Later Generations, 1615-1650Chapter 8. Mateo Mexia and the Languages of "Style"Final ConsiderationsAppendix. Selected Transcriptions of Painting Contracts A. Melchor de Alarcon, Choir Books, 1572 B. Diego de Robles and Luis de Ribera, Virgin of the Rosary, 1586 C. Andres Sanchez Gallque, Chimbo Altarpiece, 1592 D. Lucas Vizuete, Easel Paintings, 1626 E. Miguel Ponce, Altarpiece and Paintings, 1633GlossaryNotesBibliographyIndex
内容简介:
Quito, Ecuador, was one of colonial South America's most important artistic centers. Yet the literature on painting in colonial Quito largely ignores the first century of activity, reducing it to a "handful of names," writes Susan Verdi Webster. In this major new work based on extensive and largely unpublished archival documentation, Webster identifies and traces the lives of more than fifty painters who plied their trade in the city between 1550 and 1650, revealing their mastery of languages and literacies and the circumstances in which they worked in early colonial Quito. Overturning many traditional assumptions about early Quiteno artists, Webster establishes that these artists-most of whom were Andean-functioned as visual intermediaries and multifaceted cultural translators who harnessed a wealth of specialized knowledge to shape graphic, pictorial worlds for colonial audiences. Operating in an urban mediascape of layered languages and empires-a colonial Spanish realm of alphabetic script and mimetic imagery and a colonial Andean world of discursive graphic, material, and chromatic forms-Quiteno painters dominated both the pen and the brush. Webster demonstrates that the Quiteno artists enjoyed fluency in several areas, ranging from alphabetic literacy and sophisticated scribal conventions to specialized knowledge of pictorial languages: the materials, technologies, and chemistry of painting, in addition to perspective, proportion, and iconography. This mastery enabled artists to deploy languages and literacies-alphabetic, pictorial, graphic, chromatic, and material-to obtain power and status in early colonial Quito.
作者简介:

Susan Verdi Webster is the Jane Williams Mahoney Professor of Art History and American Studies at the College of William & Mary. She has published extensively in both English and Spanish on the history of painting, sculpture, architecture, and visual culture in Spain, Ecuador, and Mexico.
目录:

AcknowledgmentsIntroductionPart I. ContextsChapter 1. Lettered Painters and the Languages of EmpireChapter 2. Materials, Models, and the MarketChapter 3. The Objects of PaintingChapter 4. Painters and the ProfessionPart II. PaintersChapter 5. First Generations, ca. 1550-1615Chapter 6. Pintar la figura de la letra: Andres Sanchez Gallque and the Languages of EmpireChapter 7. Later Generations, 1615-1650Chapter 8. Mateo Mexia and the Languages of "Style"Final ConsiderationsAppendix. Selected Transcriptions of Painting Contracts A. Melchor de Alarcon, Choir Books, 1572 B. Diego de Robles and Luis de Ribera, Virgin of the Rosary, 1586 C. Andres Sanchez Gallque, Chimbo Altarpiece, 1592 D. Lucas Vizuete, Easel Paintings, 1626 E. Miguel Ponce, Altarpiece and Paintings, 1633GlossaryNotesBibliographyIndex

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Lettered Artists and the Languages of Empire: Painters and the Profession in Early Colonial Quito

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