Papers by Carmen Fernandez Salvador
Quito: Patrimonio cultural de la humanidad, 2024
Historical writing and the formation of the collective memory in Ecuador Escrita da História e fo... more Historical writing and the formation of the collective memory in Ecuador Escrita da História e formação da memória coletiva em Equador
RESUMEN Este artículo estudia el proceso de selección que opera para articular la historia del ar... more RESUMEN Este artículo estudia el proceso de selección que opera para articular la historia del arte colonial en el Ecuador decimonónico, como el esfuerzo de una incipiente crítica artística preocupada por educar al observador moderno y, a la par, dar forma al canon artístico nacional. Se estudia el aporte de los intelectuales de la era del progreso, liderados primero por los liberales afines a las sociedades democráticas y luego por el político conservador e intelectual cosmopolita Juan León Mera.
El artículo analiza la relación entre las imágenes y la oratoria sagrada durante el siglo XVII en... more El artículo analiza la relación entre las imágenes y la oratoria sagrada durante el siglo XVII en Quito. Examina, de un lado, cómo los sermones hacían uso de un canon oficial cristiano para definir y legitimar los cultos religiosos locales; y, de otro lado, las disposiciones urbanas de las imágenes milagrosas de la Virgen María, estratégicamente ubicadas en santuarios, constituyendo el paisaje local de una cartografía sagrada. Estos elementos contribuyeron a forjar una visión edificante de la urbe, presentada como una Nueva Jerusalén escogida por Dios. Este gesto aparece ligado con la consolidación de la identidad criolla y el fortalecimiento de un incipiente patriotismo local.
Revista Ecuatoriana de Historia, Feb 4, 2015
El artículo analiza la relación entre las imágenes y la oratoria sagrada durante el siglo XVII en... more El artículo analiza la relación entre las imágenes y la oratoria sagrada durante el siglo XVII en Quito. Examina, de un lado, cómo los sermones hacían uso de un canon oficial cristiano para definir y legitimar los cultos religiosos locales; y, de otro lado, las disposiciones urbanas de las imágenes milagrosas de la Virgen María, estratégicamente ubicadas en santuarios, constituyendo el paisaje local de una cartografía sagrada. Estos elementos contribuyeron a forjar una visión edificante de la urbe, presentada como una Nueva Jerusalén escogida por Dios. Este gesto aparece ligado con la consolidación de la identidad criolla y el fortalecimiento de un incipiente patriotismo local.
DOAJ: Directory of Open Access Journals - DOAJ, Aug 1, 2019
RESUMEN Este artículo estudia el proceso de selección que opera para articular la historia del ar... more RESUMEN Este artículo estudia el proceso de selección que opera para articular la historia del arte colonial en el Ecuador decimonónico, como el esfuerzo de una incipiente crítica artística preocupada por educar al observador moderno y, a la par, dar forma al canon artístico nacional. Se estudia el aporte de los intelectuales de la era del progreso, liderados primero por los liberales afines a las sociedades democráticas y luego por el político conservador e intelectual cosmopolita Juan León Mera.
This article explores the role played by images of the Virgin Mary in the ordering of space durin... more This article explores the role played by images of the Virgin Mary in the ordering of space during the colonial period, as well as in the disruption of such order as a gesture of resistance by subordinate groups. In the Real Audiencia de Quito of the sixteenth and seventeenth centuries, civil and religious authorities used miraculous images of the Virgin Mary as aids in the founding of reducciones, which assured the imposition of Christian civility upon the Native population. Legal records suggest that in the second half of the eighteenth century Indigenous communities deployed similar strategies as a means of asserting their own concerns. Native actors physically manipulated Marian images in times of conflict, moving them around or apprehending them either to legitimize their desertion of colonial settlements or to resist forced relocation. In both the early colonial period and in the eighteenth century, the key strategy of shaping sacred landscapes was implemented in both Andean a...
Hispanic Research Journal, 2021
Abstract:
This article examines the migration of artistic theory from Europe to Spanish America ... more Abstract:
This article examines the migration of artistic theory from Europe to Spanish America in the early modern period and, more specifically, on the way in which these ideas served to fashion the role of artists in colonial society. In the seventeenth century, Counterreformation ideas about the devout painter entered hagiographies written in Lima, Quito, and Santa Fe, which praised the artistic skill of religious artists as visible manifestation of their piety. As exemplars of Christian virtue, these artists stood as the spiritual capital of Spanish American cities and, thus, were instrumental in the shaping of local pride and identities. Tridentine artistic theory acquired a new meaning in colonial Spanish America, in the sense that it legitimized a view of Spanish American urban communities as Christian corporations. The figure of the Christian painter was particularly important in Jesuit narratives written in Spanish America, since it grounded the order’s ideas regarding the moral end of pictures and of artists.
Resumen:
Este artículo examina la migración de la teoría artística de Europa a Hispanoamérica durante la modernidad temprana, y su apropiación por parte de actores locales al momento de definir el papel del artista en la sociedad colonial. En el siglo XVII, el ideal contrarreformista del pintor de imágenes sagradas, virtuoso y piadoso, se hizo presente en la tradición hagiográfica de Lima, Quito y Santa Fe, la que celebraba la habilidad de los artistas religiosos como manifestación de su piedad. Como ejemplos de virtud cristiana, estos artistas incrementaban el capital espiritual de las ciudades hispanoamericanas y como tal eran la base de la identidad y orgullo locales. La teoría artística de la Contrarreforma adquirió un nuevo significado en Hispanoamérica, en el sentido de que sirvió para evidenciar tanto el éxito del proyecto misionero como de una visión ideal y cristiana de las comunidades urbanas. La figura del pintor cristiano tuvo una singular importancia en narrativas jesuitas hispanoamericanas, puesto que fundamentó las ideas de la orden sobre el propósito moral de las imágenes y de los artistas.
Arts, 2021
This article explores the role played by images of the Virgin Mary in the ordering of space durin... more This article explores the role played by images of the Virgin Mary in the ordering of space during the colonial period, as well as in the disruption of such order as a gesture of resistance by subordinate groups. In the Real Audiencia de Quito of the sixteenth and seventeenth centuries, civil and religious authorities used miraculous images of the Virgin Mary as aids in the founding of reducciones, which assured the imposition of Christian civility upon the Native population. Legal records suggest that in the second half of the eighteenth century Indigenous communities deployed similar strategies as a means of asserting their own concerns. Native actors physically manipulated Marian images in times of conflict, moving them around or apprehending them either to legitimize their desertion of colonial settlements or to resist forced relocation. In both the early colonial period and in the eighteenth century, the key strategy of shaping sacred landscapes was implemented in both Andean and Christian traditions.
Historia, arte y música en el manuscrito "La perla mystica" del monasterio de Santa Clara de Quito (1700-1718), 2019
35th CIHA World Congress – Motion: Migrations São Paulo, Brazil, 13th - 18th September 2020
6 – Missions as Contact Zones: Migrating Artists, Material Objects, and Aesthetic Practices in a ... more 6 – Missions as Contact Zones: Migrating Artists, Material Objects, and Aesthetic Practices in a Global World Chairs: Carmen Fernández-Salvador, Universidad San Francisco de Quito, Quito Cristina Cruz González, Oklahoma State University, Stillwater
Leticia Squeff, Universidade Federal de São Paulo, São Paulo
Missions and missionaries played a key role in the migration of art objects, materials and technologies, and were also central to the circulation of formal conventions and styles between (and within) the Americas, Asia, Africa, and Europe. Because of this, missions are key in understanding colonial, imperial and global art history.
Missions are not just recipients of foreign visual traditions. In colonial Spanish America, for example, many of them were also important production and distribution centers, permitting the development of exchange networks that complicated center-periphery relations. Among the Guaraní, converts were skilled in the arts of painting, sculpture, and retable making, while in Chiloé, indigenous workshops also produced wooden retablos and sculptures for local churches. Missions were also highly innovative spaces, allowing for interpretation of artistic traditions from Europe and Asia, and experimentation with both local and imported materials and techniques. In Mainas, builders sought to reproduce the appearance of European churches, using palm trees and bricks painted with local pigments to mimic the color and texture of marble and jasper. Objects manufactured by indigenous artisans were also highly valued by collectors in major urban centers. Thus, featherwork ornaments manufactured in the missions of the Brazilian Amazon decorated churches in Belem and Para.
Great attention has been given to Christian missionary art in different parts of the world. However, Islamic missions in Africa and in Asia were also responsible for the dissemination of architectural forms and of calligraphy across a vast geographic space. Likewise, in present times, art continues to play a significant role in missionary work, demonstrating its adaptability to local conditions. This is the case of the recent portraits of Christ employed by members of the Church of the Latter Day Saints, which have been transformed to suit the concerns of believers in Latin America and in Africa.
Thinking about the mission as a contact zone, this session is particularly interested in the mission as a spiritual, architectural, and geographical space that allowed for complex artistic relationships. We are interested in the spread of diverse artistic traditions in a missionary context, but also on interpretations and adaptations of imported aesthetic practices as well as on local artistic production.Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject.
Procesos: Revista Ecuatoriana de historia, 2019
Este artículo estudia el proceso de selección que opera para articular la historia del arte colon... more Este artículo estudia el proceso de selección que opera para articular la historia del arte colonial en el Ecuador decimonónico, como el esfuerzo de una incipiente crítica artística preocupada por educar al observador moderno y, a la par, dar forma al canon artístico nacional. Se estudia el aporte de los intelectuales de la era del progreso, liderados primero por los liberales afines a las sociedades democráticas y luego por el político conservador e intelectual cosmopolita Juan León Mera.
Tres cosas son sumamente necesarias, para que alguien pueda adquirir con perfección la ciencia de... more Tres cosas son sumamente necesarias, para que alguien pueda adquirir con perfección la ciencia de alguna cosa: el arte, el uso y la imitación. El arte, para enseñar las reglas y principios: el uso para ejercitar; y la imitación para poner ante la vista los modelos. Este hecho se pone en evidencia en un pintor perito, el cual, para adquirir a perfección su arte, necesita primeramente que se le enseñen las reglas del arte, los modos de componer los colores y la proporción con que se los debe mezclar y la manera de pintar las imágenes; en segundo lugar, necesita el uso, porque nunca resultará pintor si no se ejercita en la pintura; en tercer lugar, ha menester de excelentes modelos, en los cuales vea cumplidos a cabalidad todas las reglas de teoría" 2 .
Religious Transformations in the Early MOdern Americas, 2014
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Papers by Carmen Fernandez Salvador
This article examines the migration of artistic theory from Europe to Spanish America in the early modern period and, more specifically, on the way in which these ideas served to fashion the role of artists in colonial society. In the seventeenth century, Counterreformation ideas about the devout painter entered hagiographies written in Lima, Quito, and Santa Fe, which praised the artistic skill of religious artists as visible manifestation of their piety. As exemplars of Christian virtue, these artists stood as the spiritual capital of Spanish American cities and, thus, were instrumental in the shaping of local pride and identities. Tridentine artistic theory acquired a new meaning in colonial Spanish America, in the sense that it legitimized a view of Spanish American urban communities as Christian corporations. The figure of the Christian painter was particularly important in Jesuit narratives written in Spanish America, since it grounded the order’s ideas regarding the moral end of pictures and of artists.
Resumen:
Este artículo examina la migración de la teoría artística de Europa a Hispanoamérica durante la modernidad temprana, y su apropiación por parte de actores locales al momento de definir el papel del artista en la sociedad colonial. En el siglo XVII, el ideal contrarreformista del pintor de imágenes sagradas, virtuoso y piadoso, se hizo presente en la tradición hagiográfica de Lima, Quito y Santa Fe, la que celebraba la habilidad de los artistas religiosos como manifestación de su piedad. Como ejemplos de virtud cristiana, estos artistas incrementaban el capital espiritual de las ciudades hispanoamericanas y como tal eran la base de la identidad y orgullo locales. La teoría artística de la Contrarreforma adquirió un nuevo significado en Hispanoamérica, en el sentido de que sirvió para evidenciar tanto el éxito del proyecto misionero como de una visión ideal y cristiana de las comunidades urbanas. La figura del pintor cristiano tuvo una singular importancia en narrativas jesuitas hispanoamericanas, puesto que fundamentó las ideas de la orden sobre el propósito moral de las imágenes y de los artistas.
Leticia Squeff, Universidade Federal de São Paulo, São Paulo
Missions and missionaries played a key role in the migration of art objects, materials and technologies, and were also central to the circulation of formal conventions and styles between (and within) the Americas, Asia, Africa, and Europe. Because of this, missions are key in understanding colonial, imperial and global art history.
Missions are not just recipients of foreign visual traditions. In colonial Spanish America, for example, many of them were also important production and distribution centers, permitting the development of exchange networks that complicated center-periphery relations. Among the Guaraní, converts were skilled in the arts of painting, sculpture, and retable making, while in Chiloé, indigenous workshops also produced wooden retablos and sculptures for local churches. Missions were also highly innovative spaces, allowing for interpretation of artistic traditions from Europe and Asia, and experimentation with both local and imported materials and techniques. In Mainas, builders sought to reproduce the appearance of European churches, using palm trees and bricks painted with local pigments to mimic the color and texture of marble and jasper. Objects manufactured by indigenous artisans were also highly valued by collectors in major urban centers. Thus, featherwork ornaments manufactured in the missions of the Brazilian Amazon decorated churches in Belem and Para.
Great attention has been given to Christian missionary art in different parts of the world. However, Islamic missions in Africa and in Asia were also responsible for the dissemination of architectural forms and of calligraphy across a vast geographic space. Likewise, in present times, art continues to play a significant role in missionary work, demonstrating its adaptability to local conditions. This is the case of the recent portraits of Christ employed by members of the Church of the Latter Day Saints, which have been transformed to suit the concerns of believers in Latin America and in Africa.
Thinking about the mission as a contact zone, this session is particularly interested in the mission as a spiritual, architectural, and geographical space that allowed for complex artistic relationships. We are interested in the spread of diverse artistic traditions in a missionary context, but also on interpretations and adaptations of imported aesthetic practices as well as on local artistic production.Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject.
This article examines the migration of artistic theory from Europe to Spanish America in the early modern period and, more specifically, on the way in which these ideas served to fashion the role of artists in colonial society. In the seventeenth century, Counterreformation ideas about the devout painter entered hagiographies written in Lima, Quito, and Santa Fe, which praised the artistic skill of religious artists as visible manifestation of their piety. As exemplars of Christian virtue, these artists stood as the spiritual capital of Spanish American cities and, thus, were instrumental in the shaping of local pride and identities. Tridentine artistic theory acquired a new meaning in colonial Spanish America, in the sense that it legitimized a view of Spanish American urban communities as Christian corporations. The figure of the Christian painter was particularly important in Jesuit narratives written in Spanish America, since it grounded the order’s ideas regarding the moral end of pictures and of artists.
Resumen:
Este artículo examina la migración de la teoría artística de Europa a Hispanoamérica durante la modernidad temprana, y su apropiación por parte de actores locales al momento de definir el papel del artista en la sociedad colonial. En el siglo XVII, el ideal contrarreformista del pintor de imágenes sagradas, virtuoso y piadoso, se hizo presente en la tradición hagiográfica de Lima, Quito y Santa Fe, la que celebraba la habilidad de los artistas religiosos como manifestación de su piedad. Como ejemplos de virtud cristiana, estos artistas incrementaban el capital espiritual de las ciudades hispanoamericanas y como tal eran la base de la identidad y orgullo locales. La teoría artística de la Contrarreforma adquirió un nuevo significado en Hispanoamérica, en el sentido de que sirvió para evidenciar tanto el éxito del proyecto misionero como de una visión ideal y cristiana de las comunidades urbanas. La figura del pintor cristiano tuvo una singular importancia en narrativas jesuitas hispanoamericanas, puesto que fundamentó las ideas de la orden sobre el propósito moral de las imágenes y de los artistas.
Leticia Squeff, Universidade Federal de São Paulo, São Paulo
Missions and missionaries played a key role in the migration of art objects, materials and technologies, and were also central to the circulation of formal conventions and styles between (and within) the Americas, Asia, Africa, and Europe. Because of this, missions are key in understanding colonial, imperial and global art history.
Missions are not just recipients of foreign visual traditions. In colonial Spanish America, for example, many of them were also important production and distribution centers, permitting the development of exchange networks that complicated center-periphery relations. Among the Guaraní, converts were skilled in the arts of painting, sculpture, and retable making, while in Chiloé, indigenous workshops also produced wooden retablos and sculptures for local churches. Missions were also highly innovative spaces, allowing for interpretation of artistic traditions from Europe and Asia, and experimentation with both local and imported materials and techniques. In Mainas, builders sought to reproduce the appearance of European churches, using palm trees and bricks painted with local pigments to mimic the color and texture of marble and jasper. Objects manufactured by indigenous artisans were also highly valued by collectors in major urban centers. Thus, featherwork ornaments manufactured in the missions of the Brazilian Amazon decorated churches in Belem and Para.
Great attention has been given to Christian missionary art in different parts of the world. However, Islamic missions in Africa and in Asia were also responsible for the dissemination of architectural forms and of calligraphy across a vast geographic space. Likewise, in present times, art continues to play a significant role in missionary work, demonstrating its adaptability to local conditions. This is the case of the recent portraits of Christ employed by members of the Church of the Latter Day Saints, which have been transformed to suit the concerns of believers in Latin America and in Africa.
Thinking about the mission as a contact zone, this session is particularly interested in the mission as a spiritual, architectural, and geographical space that allowed for complex artistic relationships. We are interested in the spread of diverse artistic traditions in a missionary context, but also on interpretations and adaptations of imported aesthetic practices as well as on local artistic production.Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject.
Referencia PID2020-117094GB-I00.
IP1 Juan Luis González García (UAM)
IP2 Sara Fuentes Lázaro (UDIMA)