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Art and Architecture of New Spain (Art History)

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  1. Introduction
  2. Art and architecture have been discussed since the 16th century in New Spain. Following the introduction of European culture and religion in 1521, problems of urbanism, architecture and its decoration, and the character and use of objects, which we now call art, were of vital interest and thus appear in many early documents. The modern study of the art of New Spain, like art history in general, began in the 19th century and was established at the Institute of Aesthetic Research, founded in 1935 at the National University in Mexico City. Much, if not most, of the current bibliography on the art of New Spain, in fact, has originated there. Other, very important, texts were written by Spaniards and by a few scholars working in the United States around the middle of the 20th century. Included here are some of these foundational texts, but most titles are more recent and the selection leans somewhat toward works in English, although these are far fewer than studies in Spanish. Early-20th-century Mexican art history of New Spain, like that of other places, was largely about styles. These histories had the additional problem of trying to adjust their narratives to European precedents. The nationalist strategy for affirming the specific worth of Mexican colonial art was to align it with the anticlassical baroque and with the popular arts and their roots in native cultures. In the 1970s, art history in Mexico, like elsewhere, took a turn toward problems of interpretation within cultural contexts. This has meant looking more carefully at the different environments within New Spain in which art and architecture were produced. One strong direction has been iconography and iconology. Unlike European art, however, the art of New Spain—and of all Latin America—is still poorly documented in the early 21st century. Thus, careful cataloguing and attention to formal qualities continue to be extremely important. In conjunction with studies of materials and techniques, this work is engendering ways to better understand the art of New Spain. Not only criollo production, but also that of other sectors of the very complex society of New Spain, is being examined. Younger generations of scholars, both in Mexico and elsewhere, especially in the United States, hold out the promise of much valuable scholarship in the future.
  3.  
  4. General Overviews
  5. All these survey texts, with the exception of Kubler and Soria 1959, were produced either in Mexico or in Spain. Toussaint 1967 is a single-volume survey that has gone through one English and several Spanish editions, and it continues to be a basic source. The most complete and useful survey is Vargaslugo 1986, whereas Tovar de Teresa 1992 and Vargaslugo 1994 are fruits of the Columbian centennial celebrations. Angulo Íñiguez, et al. 1945–1956 and Sebastián López, et al. 1985–1992 are Spanish publications and assert the existence among Spaniards of the memory of their nation as origin of the artistic and architectural culture of its former viceroyalties and colonies.
  6.  
  7. Angulo Íñiguez, Diego, Enrique Marco Dorta, and Mario J. Buschiazzo. Rev. ed. 3 vols. Historia del arte hispanoamericano. Barcelona: Salvat, 1945–1956.
  8.  
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  10.  
  11. The most important Spanish survey of colonial Latin American art and architecture. Mexican art and architecture are dealt with in Volume 3 but are understood as part of an indivisible Spanish unity.
  12.  
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  14.  
  15. Kubler, George, and Martin Soria. Art and Architecture in Spain and Portugal and Their American Dominions, 1500–1800. Pelican History of Art. Baltimore: Penguin, 1959.
  16.  
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  18.  
  19. Kubler is the author of the architecture section, which is the most valuable part of this book exemplifying some of his thinking about artistic centers and peripheries.
  20.  
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  22.  
  23. Sebastián López, Santiago, Gisbert de Mesa, Teresa, and José de Mesa Figueroa. Arte iberoamericano desde la colonización a la independencia. 2 vols. Summa artis, historia general del arte 28–29. Madrid: Espasa-Calpe, 1985–1992.
  24.  
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  26.  
  27. These volumes provide general information on the art and architecture of all Latin America, including Brazil, and also reflect the specific interests of their two Bolivian authors, art and architectural historians, and of the pioneer Spanish iconographer Santiago Sebastián. The inclusion of plans and drawings is notable.
  28.  
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  30.  
  31. Toussaint, Manuel. Colonial Art in Mexico. Translated and edited by Elizabeth Wilder Weismann. Texas Pan-American Series. Austin: University of Texas Press, 1967.
  32.  
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  34.  
  35. English translation of El arte colonial en México, originally published in 1948 (Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México) and revised by Xavier Moyssén in 1962 (Mexico City: Instituto de Investigaciones Estésticas, Universidad Nacional Autónoma de México). This continues to be the basic general text on the art of New Spain. Toussaint offers much information and examines the stylistic development of art in relation to the history of Mexico. Notwithstanding its nationalist tone and negative view of 18th-century art, this remains a very useful reference.
  36.  
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  38.  
  39. Tovar de Teresa, Guillermo, ed. Arte novohispano. 7 vols. Mexico City: Azabache, 1992.
  40.  
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  42.  
  43. This is an idiosyncratic collection of volumes, each by a different author or group of authors, some Mexican, including the editor of the collection, but mostly European. It has the merit of including subjects previously little studied, such as Mudejar carpentry (Rafael López Guzmán) and iconography (Santiago Sebastián), as well as many good illustrations.
  44.  
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  46.  
  47. Vargaslugo, Elisa, ed. Historia del arte mexicano. 2d ed. Vols. 5–8, Arte colonial. Mexico City: Salvat, 1986.
  48.  
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  50.  
  51. The most complete survey of Mexican colonial art. The multiple authors, whose names read like a who’s who of Mexican colonial art historians, cover many topics, including “minor” arts and genres previously little studied, such as nonreligious art and varieties of building types. The approach is generally, but not exclusively, formal and stylistic, as many works are also discussed in terms of their materiality, iconography, and function.
  52.  
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  54.  
  55. Vargaslugo, Elisa, ed. México en el mundo de las colecciones de arte. Vols. 3–4, Nueva España. Mexico City: Azabache, 1994.
  56.  
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  58.  
  59. These well-illustrated volumes, with many contributors, are the result of a major search for art objects from New Spain in museums and collections outside Mexico. The material is organized by technique (e.g., featherwork, silver, enconchados) and by style and iconography, but also by provenance and collector, thus serving as a major impetus for the study of the history of collections of the art of New Spain.
  60.  
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  62.  
  63. Reference Works
  64. This is an area still requiring much professional work. Important publications are necessarily partial, though digitalization is progressing, which bodes well for the future. Tovar de Teresa 1988 brings together colonial texts that are of interest for the study of art. Schenone 1992–1998 and Schenone 2008, in several volumes, are a guide to Christian iconography in colonial Latin America. Catálogos de documentos de arte is a series of guides to archival documents on Mexican art.
  65.  
  66. Catálogos de documentos de arte. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1982–.
  67.  
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  69.  
  70. Indexes of documents related to art of all periods in different Mexican and Spanish archives. The emphasis has been on New Spain, and the manuals have been appearing regularly since 1982, and since 1999 are available online.
  71.  
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  73.  
  74. Schenone, Héctor. Santa María. Buenos Aires: Universidad Católica Argentina, 2008.
  75.  
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  77.  
  78. This work deals with how artists pictured the narrative of Mary’s life as well as with the many devotional images of Mary throughout Latin America.
  79.  
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  81.  
  82. Schenone, Héctor H. Iconografía del arte colonial. Buenos Aires, Argentina: Fundación Tarea, 1992–1998.
  83.  
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  85.  
  86. A collection of very useful iconography manuals in four volumes, covering Christian art in all colonial Latin America, including New Spain. Volumes 1–2 (Los Santos, 1992) provide information on religious and liturgical objects as well as vestments. The main content, however, is on how individual saints, listed in alphabetical order and illustrated, were depicted, with their stories, in the art of colonial Latin America. A third volume of the collection (Jesucristo, 1998) focuses on the events of Christ’s life and on the iconographic characteristics of particular devotional images of Jesus.
  87.  
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  89.  
  90. Schenone, Héctor H. Santa María: Iconografía del Arte Colonial. Buenos Aires: Universidad Católica Argentina, 2008.
  91.  
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  93.  
  94. Like the other volumes of this series, this provides information and illustrations of how Christian subjects were depicted in the colonial art of Latin America. In this case, the focus is on the Marian iconography and devotional images.
  95.  
  96. Find this resource:
  97.  
  98. Tovar de Teresa, Guillermo. Bibliografía novohispana de arte. 2 vols. Biblioteca americana. Mexico City: Fondo de Cultura Económica, 1988.
  99.  
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  101.  
  102. A collection of writings from the colonial period that discuss buildings and works of art. The texts are in chronological order, which, to some extent, helps offset the inconvenience of the lack of an index. In any case, the texts are fascinating and very useful for understanding the meanings and functions of art in New Spain.
  103.  
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  105.  
  106. Catalogues of Collections
  107. Cataloguing of collections in museums and at colonial sites is a work very much in progress. Listed here are some outstanding examples of useful published catalogues that go beyond the listing of objects. Cuadriello 1999 and Ruiz Gomar, et al. 2004 are well-documented catalogues of a very important collection. García Saiz 1980 and Alarcón Cedillo and García de Toxqui 1992–1996 make available, through photographs and explantory texts, the paintings in two of the most important collections of colonial Latin American art. Muriel 1987 gives information on the collection of an institution founded in the viceregal period that still exists in the early 21st century. Pierce 2011 introduces the art of New Spain and the rest of Latin America for the general public through an account of the outstanding collection of the Denver Art Museum.
  108.  
  109. Alarcón Cedillo, Roberto M., and Ma. del Rosario García de Toxqui. Pintura novohispana: Museo Nacional del Virreinato Tepotzotlán. 3 vols. Tepotzotlán, Mexico: Asociación de Amigos del Museo Nacional del Virreinato, 1992–1996.
  110.  
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  112.  
  113. A set of volumes examining all the paintings of this very important collection, especially with regard to their iconography.
  114.  
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  116.  
  117. Cuadriello, Jaime. Catálogo comentado del acervo del Museo Nacional de Arte: Nueva España. Vol. 1. Mexico City: Museo Nacional de Arte, 1999.
  118.  
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  120.  
  121. With introductory texts and information on the collection. Each work is considered. The works are ordered by painter’s surname.
  122.  
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  124.  
  125. García Sáiz, María Concepción. La pintura colonial en el Museo de América. 2 vols. Madrid: Ministerio de Cultura, 1980.
  126.  
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  128.  
  129. Catalogue, with discussion of the paintings in the most important Spanish public collection of Latin American colonial art.
  130.  
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  132.  
  133. Muriel, Josefina, ed. Los vascos en Mexico y su Colegio de las Vizcaínas. Mexico City: Instituto de Investigaciones Históricas, Universidad Nacional Autónoma de México, 1987.
  134.  
  135. Save Citation »Export Citation »E-mail Citation »
  136.  
  137. A history of this institution, its architecture, and its important collection. Included are the altarpieces in the chapel, discussion of some pieces, and a listing of the paintings and sculptures in the museum.
  138.  
  139. Find this resource:
  140.  
  141. Pierce, Donna. Companion to Spanish Colonial Art at the Denver Art Museum. Denver: Mayer Center for Pre-Columbian and Spanish Colonial Art, Denver Art Museum, 2011.
  142.  
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  144.  
  145. Guide to the most comprehensive collection (more than three thousand objects) of this art in the United States. Only major works are covered, but this is a well-illustrated and accessible introduction to the subject for the general, English-speaking public.
  146.  
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  148.  
  149. Ruiz Gomar, Rogelio, Nelly Sigaut, Jaime Cuadriello, et al. Catálogo comentado del acervo del Museo Nacional de Arte: Nueva España. Vol. 2. Mexico City: Museo Nacional de Arte, 2004.
  150.  
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  152.  
  153. This and Cuadriello 1999 should be consulted together, because some of the same painters are included in both, although with regard to different paintings. Each work is described separately, with information on measurements, technique, style, author, iconography, and provenance as well as a bibliography. The authors are all experts.
  154.  
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  156.  
  157. Conference Proceedings
  158. Listed here are the institutions and generic titles of their periodic scholarly meetings that prominently include discussion of the art of New Spain (Coloquio Internacional de Historia del Arte, Coloquio del Seminario de Estudio y Conservación del Patrimonio Cultural, and the Denver Art Museum’s Annual Symposium). Also crucial are that the proceedings are regularly published and that the information is available online.
  159.  
  160. Annual Symposium, Mayer Center for Pre-Columbian and Spanish Colonial Art, Denver Art Museum.
  161.  
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  163.  
  164. Annual event that alternates between viceregal and pre-Columbian themes. Since the 2001 symposium the proceedings have been published.
  165.  
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  167.  
  168. Coloquio del Seminario de Estudio y Conservación del Patrimonio Cultural, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México.
  169.  
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  171.  
  172. Held annually since 1992.
  173.  
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  175.  
  176. Coloquio Internacional de Historia del Arte, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México.
  177.  
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  179.  
  180. Held annually since 1975.
  181.  
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  183.  
  184. Textbooks
  185. There are no textbooks in English that are entirely devoted to the art of New Spain. Donahue-Wallace 2008 offers much material from New Spain, so it is included here. Vistas: Visual Culture in Spanish America, 1520–1820 is a useful online didactic source that also presents many objects and sites of New Spain.
  186.  
  187. Donahue-Wallace, Kelly. Art and Architecture of Viceregal Latin America, 1521–1821. Diálogos. Albuquerque: University of New Mexico Press, 2008.
  188.  
  189. Save Citation »Export Citation »E-mail Citation »
  190.  
  191. A survey of mostly viceregal Mexico and Peru. Presented chronologically and thematically, and with attention to historical events and circumstances, the material is complemented by illustrations and by excerpts from viceregal texts. For undergraduates and the general reader.
  192.  
  193. Find this resource:
  194.  
  195. Liebsohn, Dana, and Barbara Mundy, eds. Vistas: Visual Culture in Spanish America, 1520–1820.
  196.  
  197. Save Citation »Export Citation »E-mail Citation »
  198.  
  199. Online since 2005, this site offers basic information on visual culture, both in picture and in word, including much material on New Spain. A corresponding DVD is available, containing many more images. The site was planned for use by undergraduates and offers both a Spanish and an English version.
  200.  
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  202.  
  203. Historiography and Critical Assessments
  204. Fernández 1959 is on authors who wrote about the art of New Spain, particularly during the viceroyalty itself, and in the 19th and first half of the 20th century. All the other texts are collections of essays. Eder 2001 deals with the content and contexts of the writings of important authors on Mexican art and the implications of their efforts for contemporary art historians. Díaz Cayeros, et al. 2012 focuses on problems of writing, and particularly of specific words and expressions, in describing and explaining Latin American and Spanish art. Curiel, et al. 1994 and Gutiérrez Haces 1995 are compilations of papers presented at two meetings in Mexico dedicated to historiography; the first, on topics and approaches, and the second, on the act of writing. Farago 1995 is a view from outside Mexico, consisting of various essays that ponder the impact of discoveries in the Americas on European ideas about art.
  205.  
  206. Curiel, Gustavo, Renato González Mello, and Juana Gutiérrez Haces, eds. Arte, historia e identidad en América: Visiones comparativas. 3 vols. Papers presented at the XVII Coloquio Internacional de Historia del Arte, Mexico City, 1993. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1994.
  207.  
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  209.  
  210. This colloquium was a landmark for art history of and in Latin America, with participants from Europe and the entire American continent, including the United States and Canada. Eleven of the fifteen presentations in the section dealing with America as a subject of art are on colonial topics. The other three sections (the problems of national schools, the presence of European artistic modernity in America, and methods and objects of study) also include considerations of the Spanish period.
  211.  
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  213.  
  214. Díaz Cayeros, Patricia, Montserrat Galí Boadella, and Peter Krieger, eds. Nombrar y explicar: La terminología en el estudio del arte ibérico y latinoamericano. Papers presented at a colloquium held in Puebla, 22–23 February 2005. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2012.
  215.  
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  217.  
  218. Papers given at a 2005 meeting of Mexican and German art historians, exploring problems of terminology in the study of Spanish and Latin American art. These range from questions of nomenclature of styles; to the definition of concepts, such as sincretismo and ornamentación; to the problems of comprehending expressions used in colonial writings.
  219.  
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  221.  
  222. Eder, Rita, ed. El arte en México: Autores, temas, problemas. Biblioteca mexicana: Arte. Mexico City: Fondo de Cultura Económica, 2001.
  223.  
  224. Save Citation »Export Citation »E-mail Citation »
  225.  
  226. A collection of essays by Mexican scholars that examine the significance and reception of the writings of major authors on Mexican art. The colonial period is the most completely represented in assessments of the contributions of José Bernardo Couto, Manuel G. Revilla, Sylvester Baxter, Manuel Toussaint, George Kubler, and Francisco de la Maza.
  227.  
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  229.  
  230. Farago, Claire, ed. Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450–1650. New Haven, CT: Yale University Press, 1995.
  231.  
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  233.  
  234. These essays by Anglo-American scholars ponder the definitions of Renaissance art and visual culture in light of other, especially 16th-century Mexican, objects. The study of the reception of these objects in Renaissance cities encourages fresh thinking about the meaning and function of what has been called art in the European tradition, which makes this an important text for thinking about the art of New Spain.
  235.  
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  237.  
  238. Fernández, Justino. El Retablo de los Reyes: Estética del arte de la Nueva España. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1959.
  239.  
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  241.  
  242. A very useful critical account of the many different authors and types of texts that have dealt with the art of New Spain, from the colonial period to the 20th century, by a major art critic and historian of modern Mexican art.
  243.  
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  245.  
  246. Gutiérrez Haces, Juana, ed. Los discursos sobre el arte. Papers presented at the XV Coloquio Internacional de Historia del Arte, Mexico City, 1991. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1995.
  247.  
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  249.  
  250. In this collection, six of the essays presented in the section “Description and Interpretation” treat colonial themes, whereas two in “Literature and the Visual Arts” are about texts on art that were written or read in New Spain.
  251.  
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  253.  
  254. International Exhibition Catalogues
  255. Exhibition catalogues have been important for the development of the study of the art of New Spain, which, outside Mexico, is a relatively little-known area of artistic production. The two exhibitions in New York (Castro Leal, et al. 1940; Paz, et al. 1990), which were, in part, politically motivated, generated interest in the art of New Spain for a broad public, especially in the United States. Similarly, two large exhibitions (Brown, et al. 1999; Rishel 2006) created opportunities for deeper study of the art of New Spain within the larger category of Latin American colonial art. Céspedes del Castillo, et al. 2002 did the same for art produced in the Spanish period. During the preparation of these more recent catalogues, many previously unknown or unpublished objects came to light.
  256.  
  257. Brown, Jonathan, Joaquín Bérchez, Ramón M. Sarrera, et al. Los siglos de oro en los virreinatos de América, 1550–1700. Madrid: Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos V, 1999.
  258.  
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  260.  
  261. Catalogue of an exhibition that was seen both in the Museo de América, in Madrid, and in Mexico City, although in somewhat different versions. The exhibition was an occasion for scholars in Spain to seek out important unpublished objects from Latin America and served as an impetus among Spaniards to study the art of the viceroyalties.
  262.  
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  264.  
  265. Castro Leal, Antonio, Alfonso Caso, Manuel Toussaint, Roberto Montenegro, and Miguel Covarrubias. Twenty Centuries of Mexican Art. New York: Museum of Modern Art, 1940.
  266.  
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  268.  
  269. Catalogue of the first large-scale international exhibition of Mexican art, which displayed a significant number of objects from New Spain and also included photographs of colonial architecture. Manuel Toussaint, the curator of the colonial section of the exhibition, organized the material into Renaissance and baroque sections. He posits the individuality of Mexican works, especially in the baroque period, and insists on the presence of native participation.
  270.  
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  272.  
  273. Céspedes del Castillo, Guillermo, Félix Jiménez Villalba, Andrés Ciudad Ruiz, et al. El país del Quetzal: Guatemala maya e hispana. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2002.
  274.  
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  276.  
  277. This exhibition marked the first time a large selection of Guatemalan art from the Spanish period was seen in Europe. Each object is discussed.
  278.  
  279. Find this resource:
  280.  
  281. Paz, Octavio, Beatriz de la Fuente, Jorge Alberto Manrique, et al. Mexico: Splendors of 30 Centuries. New York: Metropolitan Museum of Art, 1990.
  282.  
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  284.  
  285. This catalogue was also produced in a Spanish edition (Mexico: Esplendores de treinta siglos, Los Angeles: Amigos de las Artes de Mexico). The colonial section is particularly strong, with many objects never previously seen outside Mexico, including silver, textiles, and a complete altarpiece. The show reignited interest in viceregal art in the United States.
  286.  
  287. Find this resource:
  288.  
  289. Rishel, Joseph J., ed. The Arts in Latin America, 1492–1820. Philadelphia: Philadelphia Museum of Art, 2006.
  290.  
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  292.  
  293. The selection includes painting in several genres, furniture, silver, textiles, and many sculptures rarely seen in traveling exhibitions. The show went to Mexico City, where a Spanish-language edition of the catalogue was published: Revelaciones: Las artes en América Latina, 1492–1820 (Mexico City: Fondo de Cultura Económica, 2007). The exhibition provided Mexican audiences with a rare opportunity to see important objects from Central and South America.
  294.  
  295. Find this resource:
  296.  
  297. Bibliographies
  298. Bibliographic information can now be found in many ways on the Internet. Victoria 1995 is the best published general bibliography on the art of New Spain in book form. The Handbook of Latin American Studies (HLAS) continues to be in print, and its online version has revolutionized access to its information. Barberena Blásquez 1982 makes it possible to search the most important illustrated art magazine in Mexico.
  299.  
  300. Barberena Blásquez, Elsa. Índice de la revista Artes de México: 1a. época, números 1–60, 1950–1965. Cuadernos de historia del arte. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1982.
  301.  
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  303.  
  304. Index of Artes de México, in its first phase of publication. The main listing is by author, title, theme, and name; another listing is for illustrations. The issues of this well-illustrated magazine often include excellent materials on the art of New Spain.
  305.  
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  307.  
  308. Handbook of Latin American Studies. Austin: University of Texas Press, 1936–.
  309.  
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  311.  
  312. Very valuable bibliographic source. Although HLAS has always provided annotated materials on art and architecture, the online version, available to all since 1993, has made searching for these, from anywhere, much easier.
  313.  
  314. Find this resource:
  315.  
  316. Victoria, José Guadalupe, ed. Una bibliografía de arte novohispano. Apoyo a la docencia. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1995.
  317.  
  318. Save Citation »Export Citation »E-mail Citation »
  319.  
  320. Comprehensive and systematic bibliography of texts on the art of New Spain up to 1990. Arranged by artistic categories, and with an index. Includes some works in languages other than Spanish, mostly English.
  321.  
  322. Find this resource:
  323.  
  324. Journals
  325. The three journals listed here are the most important for their inclusion of content on the art and architecture of New Spain. Anales del Instituto de Investigaciones Estéticas and Boletín de Monumentos Históricos are scholarly. Artes de México very often engages scholars as authors and frequently illustrates otherwise unknown materials.
  326.  
  327. Anales del Instituto de Investigaciones Estéticas. 1937–.
  328.  
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  330.  
  331. The journal of the institute of the same name, which has been publishing on the art of New Spain in almost every issue since its inception. All the issues except the current one can be searched and read online.
  332.  
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  334.  
  335. Artes de México. 1988–.
  336.  
  337. Save Citation »Export Citation »E-mail Citation »
  338.  
  339. The new series of this magazine, which offers both Spanish and English versions of its principal articles, has been appearing since 1988. The tables of contents of its issues from that year onward can be found online.
  340.  
  341. Find this resource:
  342.  
  343. Boletín de Monumentos Históricos. 1978–.
  344.  
  345. Save Citation »Export Citation »E-mail Citation »
  346.  
  347. Published by the Instituto Nacional de Antropología e Historia, this journal began its third phase in 2004. All the articles, except those of the three most recent issues, are available online.
  348.  
  349. Find this resource:
  350.  
  351. 16th Century
  352. The 16th century in New Spain brings to mind the Spanish conquest and its immediate aftermath. For art history the 16th century means the initial impact of European peoples, ideas, styles, materials, and technologies on the conquered populations, who had their own well-developed traditions of thinking about and making what we now call art. The interaction resulted in varied buildings and objects whose precise characterization continues to provoke much discussion. All these creations can be considered within the range of what in Europe is called Renaissance but, in the case of New Spain, is most frequently and best identified simply as “16th century,” which avoids stylistic terms and the assumption of simple parallels with Europe; this also permits the inclusion of objects made by indigenous artists under Spanish rule. English-language sources are numerous for this area of study. Kubler 1972 is still an unmatched introduction to the process of building New Spain. Tover de Teresa 1979 published sculptures and paintings that were little known. Reyes-Valerio 2000 emphasizes indigenous participation, especially in the creation of sculpture and painting. The essays of Estrada de Gerlero 2011 were largely responsible for bringing the consideration of iconography to the study of the art of 16th-century New Spain. Lara 2004 and Lara 2008 discuss the metaphors and practices of European Christianity and their adaptation to the native culture of central New Spain.
  353.  
  354. Estrada de Gerlero, Elena Isabel. Muros, sargas y papeles: Imagen de lo sagrado y lo profano en el arte novohispano del siglo XVI. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2011.
  355.  
  356. Save Citation »Export Citation »E-mail Citation »
  357.  
  358. A collection of twenty-one texts, written between 1976 and 1999, that examine the iconography and iconology of 16th-century architecture and its decoration, particularly wall paintings. There are also texts on featherwork and manuscripts.
  359.  
  360. Find this resource:
  361.  
  362. Kubler, George. Mexican Architecture of the Sixteenth Century. 2 vols. Yale Historical Publications: History of Art. Westport, CT: Greenwood, 1972.
  363.  
  364. Save Citation »Export Citation »E-mail Citation »
  365.  
  366. First published in 1948, this essential book was translated into Spanish in 1982 (Arquitectura mexicana del siglo XVI [Mexico City: Fondo de Cultura Económica]), and was reissued in Mexico by the same publisher, with more photographs and notes, in 2012. Fundamental study of the architecture of central New Spain in the 16th century, with important observations on urbanism, architectural sculpture, and painting as well as on the friars and natives whose combined work resulted in an astonishing number of significant buildings and objects of different types.
  367.  
  368. Find this resource:
  369.  
  370. Lara, Jaime. City, Temple, Stage: Eschatological Architecture and Liturgical Theatrics in New Spain. Notre Dame, IN: University of Notre Dame Press, 2004.
  371.  
  372. Save Citation »Export Citation »E-mail Citation »
  373.  
  374. The first of two volumes by this author that complement the seminal and indispensable Kubler 1972. Explains how the 16th-century missionaries in New Spain refashioned traditional Christian art for a new audience.
  375.  
  376. Find this resource:
  377.  
  378. Lara, Jaime. Christian Texts for Aztecs: Art and Liturgy in Colonial Mexico. Notre Dame, IN: University of Notre Dame Press, 2008.
  379.  
  380. Save Citation »Export Citation »E-mail Citation »
  381.  
  382. Explains how Christianity and native religion in central New Spain made mutual accommodations so that the former might be accepted by the natives in ways that the missionary friars could also embrace. This occurred at the level of metaphor in images and in liturgy. The process accounts, at least in part, for the success of the conversion effort, but also for the suspicions that came to the fore after the Council of Trent.
  383.  
  384. Find this resource:
  385.  
  386. Reyes-Valerio, Constantino. Arte indocristiano: Pintura y escultura en la Nueva España. Mexico City: Instituto Nacional de Antropología e Historia, 2000.
  387.  
  388. Save Citation »Export Citation »E-mail Citation »
  389.  
  390. A revised edition of the author’s 1978 Arte indocristiano: Escultura del siglo XVI en México. Insists on the native contribution to 16th-century art. Reyes-Valerio also established a related website.
  391.  
  392. Find this resource:
  393.  
  394. Tovar de Teresa, Guillermo. Pintura y escultura del Renacimiento en México. Mexico City: Instituto Nacional de Antropología e Historia, 1979.
  395.  
  396. Save Citation »Export Citation »E-mail Citation »
  397.  
  398. The outstanding merit of this book is to have brought attention to a number of previously unpublished 16th-century paintings and sculptures in Mexico.
  399.  
  400. Find this resource:
  401.  
  402. Architecture
  403. McAndrew 1965 is the first extensive study of the open chapels that are characteristic of the church complexes in native Mexican towns. Understandably, the large monasteries (conventos) of the missionary Franciscan, Dominican, and Augustinian friars have continued to attract attention. Mullen 1975 is a good example of the publications that have added to the number of buildings known through photographs, plans, and historical data. Others have taken fresh approaches. Cómez Ramos 1989 studies parallels with medieval Spanish ideas, as expressed in architectural typologies. Córdova Tello 1992 details the archeological explorations of the 16th-century Franciscan church at Huejotzingo, whereas González Leyva 2009 is a multidisciplinary study of Dominican Yanhuitlán.
  404.  
  405. Cómez Ramos, Rafael. Arquitectura y feudalismo en México: Los comienzos del arte novohispano en el siglo XVI. Cuadernos de historia del arte. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1989.
  406.  
  407. Save Citation »Export Citation »E-mail Citation »
  408.  
  409. Takes up the iconography of architecture by studying how medieval ideas, as expressed in the architecture of the churches and palaces of medieval Spain, can be observed in the 16th-century architecture of New Spain.
  410.  
  411. Find this resource:
  412.  
  413. Córdova Tello, Mario. El convento de San Miguel de Huejotzingo, Puebla: Arqueología, historica. Arqueología. Mexico City: Instituto Nacional de Antropología e Historia, 1992.
  414.  
  415. Save Citation »Export Citation »E-mail Citation »
  416.  
  417. An archeological exploration of one of the first Franciscan mission sites. An earlier basílica-type building was discovered to the north of the existing vaulted church, making possible a reconsideration of the processes of erecting the stone buildings that survive in the early 21st century in many 16th-century towns, thus challenging the “fortress church” interpretation of early studies.
  418.  
  419. Find this resource:
  420.  
  421. González Leyva, Alejandra, ed. El convento de Yanhuitlán y sus capillas de visita: Construcción y arte en el país de las nubes. Mexico City: Facultad de Filosofía y Letras, Universidad Nacional Autónoma de México, 2009.
  422.  
  423. Save Citation »Export Citation »E-mail Citation »
  424.  
  425. A collection of essays that includes plans, drawings, and transcriptions of colonial documents as well as good photographs, especially of the conserved altarpieces, sculptures, and paintings. This work exemplifies what can be accomplished to clarify and expand knowledge of one important building through collaboration among art and architectural historians and conservators.
  426.  
  427. Find this resource:
  428.  
  429. McAndrew, John. The Open-Air Churches of Sixteenth-Century Mexico: Atrios, Posas, Open Chapels, and Other Studies. Cambridge, MA: Harvard University Press, 1965.
  430.  
  431. Save Citation »Export Citation »E-mail Citation »
  432.  
  433. In addition to being the first to study the open chapels, McAndrew also notes unusual plans, such as those at Pátzcuaro and Cuilapan, and includes many plans and photographs of previously unpublished buildings and native towns built in the 16th century.
  434.  
  435. Find this resource:
  436.  
  437. Mullen, Robert James. Dominican Architecture in Sixteenth Century Oaxaca. Tempe: Center for Latin American Studies, Arizona State University, 1975.
  438.  
  439. Save Citation »Export Citation »E-mail Citation »
  440.  
  441. Documents and briefly describes the more than sixty Dominican churches in the state of Oaxaca, with information on architects, styles, building techniques, and histories.
  442.  
  443. Find this resource:
  444.  
  445. Painting and Sculpture
  446. Since the 1970s, 16th-century painting in and for indigenous contexts has attracted detailed attention. Boone 2000 is a basic source for understanding native written/painted manuscripts. The maps created in native towns in response to Spanish demands are discussed in Mundy 1996. The same maps and others are considered, with an emphasis on their visual and aesthetic qualities, in Russo 2005. Peterson 1993 is a careful and comprehensive study of the murals of one particular cloister. Báez Rubí 2005 is a close examination of Diego Valadés’s 1579 book on the Franciscan conversion effort. Manrique 2001 and Victoria 1986 explore styles in 16th- and early-17th-century painting in the Spanish sphere.
  447.  
  448. Báez Rubí, Linda. Mnemosine novohispánica: Retórica e imágines en el siglo XVI. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2005.
  449.  
  450. Save Citation »Export Citation »E-mail Citation »
  451.  
  452. An examination and interpretation of the Franciscan friar Diego Valadés’s Rhetorica cristiana, published in Rome in 1579. Báez Rubí reviews the roots and development of the art of memory and its application in New Spain, connecting Franciscan missionary methods with the Lullism and pseudo-Lullism of the 16th century. She also relates Valadés’s visual language with production of the Plantin press after 1570.
  453.  
  454. Find this resource:
  455.  
  456. Boone, Elizabeth Hill. Stories in Red and Black: Pictorial Histories of the Aztecs and Mixtecs. Austin: University of Texas Press, 2000.
  457.  
  458. Save Citation »Export Citation »E-mail Citation »
  459.  
  460. An expert overview of manuscript illustration immediately before and after the Spanish conquest, necessary for understanding the relationship between writing and painting in the native context of the viceregal period.
  461.  
  462. Find this resource:
  463.  
  464. Escalante, Pablo. “Fulgor y muerte de Juan Gerson, o, Las oscilaciones de los pintores de Tecamachalco.” In El proceso creativo. Paper presented at the XXVI Coloquio Internacional de Historia del Arte, Mexico City, 2002. Edited by Alberto Dallal, 325–342. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2006.
  465.  
  466. Save Citation »Export Citation »E-mail Citation »
  467.  
  468. A discussion of the problem of authorship in 16th-century painting, in the indigenous context.
  469.  
  470. Find this resource:
  471.  
  472. Manrique, Jorge Alberto. Una visión del arte y de la historia: Arte colonial. Vol. 3. Estudios y fuentes del arte en México. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2001.
  473.  
  474. Save Citation »Export Citation »E-mail Citation »
  475.  
  476. A collection of essays, all of which originally appeared in various journals between 1962 and 1995, by a leading Mexican art critic and historian. Jorge Alberto Manrique was the first to consider the impact and nature of mannerism in New Spain, associating it with literary figures and the first generation of criollos (Spaniards born in Mexico).
  477.  
  478. Find this resource:
  479.  
  480. Mundy, Barbara E. The Mapping of New Spain: Indigenous Cartography and the Maps of the Relaciones Geográficas. Chicago: University of Chicago Press, 1996.
  481.  
  482. Save Citation »Export Citation »E-mail Citation »
  483.  
  484. Informative and very good introduction to and analysis of the maps made c. 1580 in response to a questionnaire sent by the Spanish Crown.
  485.  
  486. Find this resource:
  487.  
  488. Peterson, Jeanette Favrot. The Paradise Garden Murals of Malinalco: Utopia and Empire in Sixteenth-Century Mexico. Austin: University of Texas Press, 1993.
  489.  
  490. Save Citation »Export Citation »E-mail Citation »
  491.  
  492. Looks at the identity and significance of the plants and animals depicted on the walls of the cloister of the Augustinian monastery at Malinalco and their roots in native, as well as in European, traditions.
  493.  
  494. Find this resource:
  495.  
  496. Russo, Alessandra. El realismo circular: Tierras, espacios y paisajes de la cartografía novohispana, siglos XVI y XVII. Estudios y fuentes del arte en México. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2005.
  497.  
  498. Save Citation »Export Citation »E-mail Citation »
  499.  
  500. Analyzes numerous maps of central Mexico, many previously unpublished, made in indigenous communities by painter-scribes in the 16th and 17th centuries. Comparisons between the maps and the actual sites constitute the backbone of this fascinating study. There are also observations on early graffiti, often found on the walls of 16th- and 17th-century cloisters, which Russo was one of the first to note and study, as these contain elements that are also present in the maps.
  501.  
  502. Find this resource:
  503.  
  504. Victoria, José Guadalupe. Pintura y sociedad en Nueva España, siglo XVI. Estudios y fuentes del arte en México. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1986.
  505.  
  506. Save Citation »Export Citation »E-mail Citation »
  507.  
  508. Explores the formation of the criollo painting tradition in New Spain, based on the life and works of the Spanish artist Baltasar de Echave Orio.
  509.  
  510. Find this resource:
  511.  
  512. 17th and 18th Centuries
  513. Scholarship on art and architecture in the 17th and 18th centuries has been more voluminous and varied in its objects of study as well as less concentrated on questions of native versus European traditions than has been the case for the 16th century. In part, this is because after 1600, society in New Spain was more racially mixed and varied, though racial distinctions had by no means disappeared. This section offers one survey, Vargaslugo 1993, and several studies of specific sites and types of buildings treated in a comprehensive and critical way, meaning that the building or selection of buildings are studied with the paintings and sculptures associated with them, and are approached from particular points of view. Vargaslugo 1993 is an informative survey of the art and architecture of the 17th and 18th centuries, discussing them as manifestations of criollo (Spaniards born in New Spain) culture. Manrique 1963 and Vargaslugo 1999 are outstanding examples of publications that explore important colonial buildings, with their contents, within the contexts of the institutions and individuals responsible for their construction and decoration. Quirarte 2002 is a study of the Texas Franciscan missions and their contents. Zaldívar Guerra, et al. 1986 provides a history of the complex changes undergone within the most important church in Mexico over time. Sigaut 1991 is a collective work that looks at the cathedral of Morelia from various angles. Bargellini and Komanecky 2009 is a regional study comparing various aspects of the architecture and art of the missions of the Franciscans with those of the Jesuits in what was northern New Spain, part of which became part of the United States.
  514.  
  515. Bargellini, Clara, and Michael K. Komanecky, eds. The Arts of the Missions of Northern New Spain, 1600–1821. Mexico City: Antiguo Colegio de San Ildefonso, 2009.
  516.  
  517. Save Citation »Export Citation »E-mail Citation »
  518.  
  519. Catalogue of an exhibition presented in Mexico (Mexico City, Puebla, Tijuana) and the United States (San Antonio, Oakland). Essays on the art, architecture, peoples, and postcolonial history of the northern missions as well as information on and analysis of the paintings, sculptures, books, prints, silver, and textiles in the exhibition. Problems of artistic geography and periodization and issues of conservation are covered. Most of the objects are new to the literature of the art of New Spain.
  520.  
  521. Find this resource:
  522.  
  523. Manrique, Jorge Alberto. Los dominicos y Azcapotzalco: Estudio sobre el Convento de Predicadores en la antigua villa. Cuadernos de la Facultad de Filosofía: Letras y ciencias. Veracruz, Mexico: Universidad Veracruzana, 1963.
  524.  
  525. Save Citation »Export Citation »E-mail Citation »
  526.  
  527. Study of the Dominican building and its contents throughout its entire colonial history, including the outstanding 17th- and 18th-century paintings and altarpieces (retablos) in the church and the Rosary Chapel.
  528.  
  529. Find this resource:
  530.  
  531. Quirarte, Jacinto. The Art and Architecture of the Texas Missions. Jack and Doris Smothers Series in Texas History, Life, and Culture. Austin: University of Texas Press, 2002.
  532.  
  533. Save Citation »Export Citation »E-mail Citation »
  534.  
  535. Based on observation and a careful examination of primary sources, this book recreates, via texts and drawings, the original colonial interiors of the 18th-century Franciscan missions in and near San Antonio, Texas, as well as the changes to the buildings over time.
  536.  
  537. Find this resource:
  538.  
  539. Sigaut, Nelly, ed. La catedral de Morelia. Zamora, Mexico: Colegio de Michoacán, 1991.
  540.  
  541. Save Citation »Export Citation »E-mail Citation »
  542.  
  543. Study by several authors of the architecture and ornamentation of the 18th-century cathedral of Morelia (formerly Valladolid), Michoacán, including transcriptions of many colonial documents.
  544.  
  545. Find this resource:
  546.  
  547. Vargaslugo, Elisa. México barroco. Mexico City: Hachette Latinoamerica, 1993.
  548.  
  549. Save Citation »Export Citation »E-mail Citation »
  550.  
  551. Presentation of art and architecture within their religious and social circumstances in 17th- and 18th-century New Spain. Secular as well as religious architecture and art are discussed, in addition to the techniques and materials used in the production of some works. The functions and meanings, especially of painting, are included, along with formal analyses. Contains a glossary.
  552.  
  553. Find this resource:
  554.  
  555. Vargaslugo, Elisa. La iglesia de Santa Prisca de Taxco. 3d ed. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1999.
  556.  
  557. Save Citation »Export Citation »E-mail Citation »
  558.  
  559. Originally published in 1974, with a second edition in 1982. The full study of a major 18th-century monument, and its decoration and contents, which resulted from the patronage of one individual, the wealthy miner José de la Borda. The church has been the object of more recent exploration and conservation efforts, all dependent in some way on this book.
  560.  
  561. Find this resource:
  562.  
  563. Zaldívar Guerra, Sergio, Esther Acevedo, Rogelio Ruiz Gomar, et al. Catedral de México. Patrimonio artístico y cultural. Mexico City: Secretaría de Desarrollo Urbano y Ecología, 1986.
  564.  
  565. Save Citation »Export Citation »E-mail Citation »
  566.  
  567. Catalogue of one of the largest collections of Mexican religous art still in its original location. Each object is described and illustrated. Essays on each of the cathedral spaces and their decoration deal with patronage and functions. Taken together, the essays provide a history of the construction and decoration of the cathedral and its changes from Renaissance to neoclassicism.
  568.  
  569. Find this resource:
  570.  
  571. Architecture
  572. If one considers the number and quality of extant buildings, the history of the architecture of New Spain after the 16th century is quite thin and suffers from the lack of publications with good ground plans and elevations of important buildings, making it difficult to do careful spatial analyses. The texts cited under General Overviews include considerations of architecture, and those cited under 17th and 18th Centuries contain discussion of both church buildings and their contents. Here, the focus is on regional architecural studies; approaches to the architecture of certain institutions, such as the various religious orders; and source materials and monographs focused on specific buildings and architects. These texts are presented in two sections: Regions and Institutions and Buildings and Builders.
  573.  
  574. Regions and Institutions
  575. Understanding the architecture of New Spain requires knowledge of the physical and social geography of particular places as well as of the religious and lay individuals and groups that promoted and financed building. Regional concerns inform Bargellini 1991, Kubler 1990, and Markman 1984, which, taken together, cover much of New Spain, from north to south, each area with its own physical characteristics and history. Church architecture was the most prominent building activity in New Spain, and the three publications offer insight into the secular clergy (Bargellini 1991) and two principal religous orders: the Franciscans, in New Mexico (Kubler 1990), and the Dominicans, in Chiapas (Markman 1984). Early 2004 explains the architecture of what was northern New Spain for a general audience. Álvarez Rodríguez 2000 is also a regional study, concentrating on a particular type of architectural decoration that was much more prevalent throughout New Spain than its remains in the region of Michoacán might lead one to believe. Díaz 1982 is a survey of the innovative architecture built throughout New Spain by the Jesuits. Kagan 2000 treats the representation of architecture in all the Spanish world and provides the theoretical framework for Vallebueno Garcinava 2005, a detailed examination of one city’s institutions and architecture.
  576.  
  577. Álvarez Rodríguez, Gloria Angélica. Los artesones michoacanos: Los cielos historiados en tablas pintadas. Morelia, Mexico: Gobierno del Estado de Michoacán de Ocampo, 2000.
  578.  
  579. Save Citation »Export Citation »E-mail Citation »
  580.  
  581. Study of the painted wooden ceilings of the churches in Michoacán, and the buildings they adorn, with many photographs, plans, and drawings. Although not unique to Michoacán, most of the ceilings of this type that are still extant are in the churches dealt with here.
  582.  
  583. Find this resource:
  584.  
  585. Bargellini, Clara. La arquitectura de la plata: Iglesias monumentales del centro-norte de México, 1640–1750. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1991.
  586.  
  587. Save Citation »Export Citation »E-mail Citation »
  588.  
  589. Amply documented exploration of the vaulted churches of the major mining cities of central and northern New Spain (San Luis Potosí to Chihuahua) of the 17th and 18th centuries and of their architects. Several of these buildings became cathedrals in 19th-century independent Mexico, a development that had been anticipated in the monumentality of their architecture and in the iconography of their facade sculptures.
  590.  
  591. Find this resource:
  592.  
  593. Díaz, Marco. La arquitectura de los Jesuitas en Nueva España: Las instituciones de apoyo, colegios y templos. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1982.
  594.  
  595. Save Citation »Export Citation »E-mail Citation »
  596.  
  597. A survey of the architecture of the Jesuits in New Spain, between their arrival in 1572 and their expulsion in 1767. Both churches and colleges are included, with photographs and plans as well as annotations from archival sources. Like many others who have studied Jesuit art, Díaz concludes that a “Jesuit style” does not exist, as such, but rather is a manner of proceeding, which in New Spain manifested itself in the search for modernity and distinctiveness.
  598.  
  599. Find this resource:
  600.  
  601. Early, James. Presidio, Mission, and Pueblo: Spanish Architecture and Urbanism in the United States. Dallas: Southern Methodist University Press, 2004.
  602.  
  603. Save Citation »Export Citation »E-mail Citation »
  604.  
  605. Especially useful for English-speaking nonspecialists, this book gives an overview of the secular and religious architecture of the Spanish and Mexican periods in the southwestern United States, which in turn relates to information on the rest of New Spain.
  606.  
  607. Find this resource:
  608.  
  609. Kagan, Richard L. Urban Images of the Hispanic World, 1493–1793. New Haven, CT: Yale University Press, 2000.
  610.  
  611. Save Citation »Export Citation »E-mail Citation »
  612.  
  613. English translation of Imágenes urbanas del mundo hispánico, 1493–1780, originally published in 1998 (Madrid: El Viso). This is an influential treatment of urban history and its representation, especially in paintings in all the Spanish world. The discussion is based on the distinction between the urbs (physical makeup of the city) and the civitas (inhabitants and their organization).
  614.  
  615. Find this resource:
  616.  
  617. Kubler, George. The Religious Architecture of New Mexico in the Colonial Period and since the American Occupation. 5th ed. Albuquerque: University of New Mexico Press, 1990.
  618.  
  619. Save Citation »Export Citation »E-mail Citation »
  620.  
  621. Originally published in 1940, this was Kubler’s doctoral dissertation, which led the author to the study of the origins of this architecture in central New Spain. Although more recent archeology has made important discoveries that alter some of the findings, this work is an outstanding overview of the problems, as well as the opportunities, presented to Europeans by local materials and indigenous methods in New Mexico.
  622.  
  623. Find this resource:
  624.  
  625. Markman, Sidney David. Architecture and Urbanization in Colonial Chiapas. Memoirs. Philadelphia: American Philosophical Society, 1984.
  626.  
  627. Save Citation »Export Citation »E-mail Citation »
  628.  
  629. Translated into Spanish in 1993 (Arquitectura y urbanización en el Chiapas colonial [Chiapas, Mexico: Consejo Estatal de Fomento a la Investigación y Difusión de la Cultura]). The most complete treatment of this architecture, including plans and photographs. The approach is descriptive, with particular interest in architectural design, manifested in the use of local materials, and in the context of the Dominican dominance and indigenous presence in Chiapas as well as farther south, in Guatemala (part of New Spain). Also discusses the survival of this architecture and many of its traits in the postcolonial centuries.
  630.  
  631. Find this resource:
  632.  
  633. Vallebueno Garcinava, Miguel Felipe de Jesús. Civitas y urbs: La conformación del espacio urbano de Durango. Durango, Mexico: Instituto de Investigaciones Históricas, Universidad Juárez del Estado de Durango, 2005.
  634.  
  635. Save Citation »Export Citation »E-mail Citation »
  636.  
  637. Probably the most complete examination of an important city of New Spain in one volume. The text considers social, demographic, architectural, and urban development, from the 17th century onward. Based on extensive archival and fieldwork; many plans; old photographs; and a deep knowledge of the city, its history, and its buildings.
  638.  
  639. Find this resource:
  640.  
  641. Buildings and Builders
  642. The publications in this section provide, on the one hand, source material for the study of buildings and their builders in New Spain and, on the other hand, texts on architects. Angulo Íñiguez 1933–1939 offers an essential foundation for the study of architectural practice. Báez Macías 2007 is a treatise written by a 17th-century Carmelite friar who was also an architect, whereas Schuetz 1987 is a manual written by an 18th-century architect in Mexico City. Fernández 1985 deals with the position of maestro mayor (chief architect) of Mexico City, and Fernández 2002 is a meticulously researched monograph on the life and career of one of the most important of the maestros mayores to have worked in Mexico City. A very different context is examined in Schuetz-Miller 1994, which documents builders in Upper California, who were mostly not architects, but rather craftsmen who had learned by working under experienced practitioners.
  643.  
  644. Angulo Íñiguez, Diego. Planos de monumentos arquitectónicos de América y Filipinas existentes en el Archivo de Indias. 4 vols. Seville, Spain: Laboratorio de Arte, 1933–1939.
  645.  
  646. Save Citation »Export Citation »E-mail Citation »
  647.  
  648. Ground plans, elevations, details, and their accompanying texts that were sent to Spain for approval. Many of the plans gathered here were later published elsewhere, and there are additional plans in the Archivo General de Indias, yet this remains a very useful text for the study of colonial architecture.
  649.  
  650. Find this resource:
  651.  
  652. Báez Macías, Eduardo, ed. Obras de fray Andrés de San Miguel. 2d ed. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2007.
  653.  
  654. Save Citation »Export Citation »E-mail Citation »
  655.  
  656. Originally published in 1969. An annotated edition of the writings of this friar-builder in New Spain (b. 1577–d. 1652). Remains the basic source for understanding one of the first architects in the viceroyalty. This edition reproduces drawings of wood construction in the original manuscript.
  657.  
  658. Find this resource:
  659.  
  660. Fernández, Martha. Arquitectura y gobierno virreinal: Los maestros mayores de la ciudad de México, siglo XVII. Estudios y fuentes del arte en México. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1985.
  661.  
  662. Save Citation »Export Citation »E-mail Citation »
  663.  
  664. Deals with the careers of the Mexico City architects who received the title of “maestro mayor during the late 16th and 17th centuries. Traces their relationships with government and religious authorities and their places within the architects’ guild. An important source for the study of patronage and the role of architects in Mexico City.
  665.  
  666. Find this resource:
  667.  
  668. Fernández, Martha. Cristóbal de Medina Vargas y la arquitectura salomónica en la Nueva España durante el siglo XVII. Monografías de arte. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2002.
  669.  
  670. Save Citation »Export Citation »E-mail Citation »
  671.  
  672. Medina Vargas seems to have been the first architect to use salomonic columns on the exteriors of churches in Mexico City (in 1681, at the church of St. Augustine). He was, in any case, one of the most important builders of his time, and this thoroughly researched book is one of the few monographs dedicated to a single architect of New Spain.
  673.  
  674. Find this resource:
  675.  
  676. Schuetz-Miller, Mardith K. Building and Builders in Hispanic California, 1769–1850. Tucson, AZ: Southwestern Mission Research Center, 1994.
  677.  
  678. Save Citation »Export Citation »E-mail Citation »
  679.  
  680. Introductory chapters explain the carefully researched and indexed information on the identity and training of builders as well as on the materials and organization of their work in specific localities. These were not practitioners in a sophisticated large city, who had advanced through the formal guild system, as regulated by written ordenances, but rather craftsmen in the mission territory of Upper California (in what became the state of California in the United States).
  681.  
  682. Find this resource:
  683.  
  684. Schuetz, Mardith K. trans. and ed. Architectural Practice in Mexico City: A Manual for Journeyman Architects of the Eighteenth Century. Tucson: University of Arizona Press, 1987.
  685.  
  686. Save Citation »Export Citation »E-mail Citation »
  687.  
  688. The annotated translation of a manuscript written by an unidentified maestro mayor who worked in Mexico City. Although it is a miscellaneous collection of notes on various technical topics, along with scattered commentary on the architect’s profession, this work is of enormous interest for the study of architecture in New Spain in the 18th century.
  689.  
  690. Find this resource:
  691.  
  692. Painting
  693. Listed here are works on the paintings made in New Spain after the 16th century. First are general texts, as well as collections of texts, including those in exhibition catalogues, that cover the topic in breadth and depth from different points of view, both stylistic and iconographic. These works are followed by monographs on painters and studies of specific iconographies and genres. Since the seminal book Toussaint 1990, the study of painting in New Spain has been frequently associated with the organization of exhibitions, partly because there are so many works that are still little known that the urge to show them to the general public has been irresistible. Yet, many more recent exhibition publications are not really catalogues, but collections of essays related to the exhibition theme. Cuadriello 1994 and Cuadriello, et al. 1999 exemplify the growth of interest in iconography and iconology in the 1990s as well as the desire to break out of a narrative based chiefly on political history. Vargaslugo, et al. 2005 explores native history in painting, but also the impact of the Catholic religion on indigenous devotional imagery and daily life. Gutiérrez Haces 2008–2009 insists on the importance of studying styles and focuses on the communality of formal expression in the early modern Spanish world. Katzew, et al. 2011 compares the viceroyalty of New Spain with that of Perú in order to emphasize the influence of native cultures in the development of artistic forms and iconographies under Spanish rule. Pierce, et al. 2004 is a concise and balanced presentation of the history of painting in New Spain, considering materiality, iconography, and quality as well as the role and status of artists.
  694.  
  695. Cuadriello, Jaime, ed. Juegos de ingenio y agudeza: La pintura emblemática de la Nueva España. Mexico City: Banamex-Accival, 1994.
  696.  
  697. Save Citation »Export Citation »E-mail Citation »
  698.  
  699. Catalogue of an exhibition of paintings, drawings, prints, folding screens, and books with emblematic iconography, both religious and secular, that was organized as part of the commemoration of the three hundreth anniversary of the death of the poet Sor Juana Inés de la Cruz. Includes essays on and discussion of many of the works that were exhibited. Although it lacks an index, this book is very important for studies in iconology.
  700.  
  701. Find this resource:
  702.  
  703. Cuadriello, Jaime, Pablo Escalante Gonzalbo, María Concepción García Saiz, et al. El origen del reino de la Nueva España, 1680–1750. Mexico City: Patronato del Museo Nacional de Arte, 1999.
  704.  
  705. Save Citation »Export Citation »E-mail Citation »
  706.  
  707. Catalogue of the first part of the exhibition project “Los pinceles de la historia,” which attempted to show how paintings depict aspects of the history of New Spain and of the first century of the independent republic of Mexico. Includes essays and a list of the exhibited paintings. Continued in the 2000 volume De la patria criolla a la nación mexicana, 1750–1860.
  708.  
  709. Find this resource:
  710.  
  711. Gutiérrez Haces, Juana, ed. Painting of the Kingdoms: Shared Identities; Territories of the Spanish Monarchy, 16th–18th Centuries. 4 vols. Mexico City: Fomento Cultural Banamex, 2008–2009.
  712.  
  713. Save Citation »Export Citation »E-mail Citation »
  714.  
  715. Four volumes of essays published simultaneously in Spanish (Pintura de los reinos: Identidades compartidas; Territorios del mundo hispánico, siglos XVI–XVIII), whose unifying purpose is to discuss shared elements and problems of the art of painting in the European tradition, as it was practiced in the various kingdoms and territories ruled by the Spanish monarchy in the early modern period. The publication accompanied an exhibition that was seen in Madrid and Mexico City, although it is not a catalogue of that exhibition.
  716.  
  717. Find this resource:
  718.  
  719. Katzew, Ilona, William B. Taylor, Luisa Elena Alcalá, et al. Contested Visions in the Spanish Colonial World. Los Angeles: Los Angeles County Museum of Art, 2011.
  720.  
  721. Save Citation »Export Citation »E-mail Citation »
  722.  
  723. A publication accompanying an exhibition examining and comparing indigenous content and materiality in the arts of New Spain and Perú during the entire viceregal period.
  724.  
  725. Find this resource:
  726.  
  727. Pierce, Donna, Rogelio Ruiz Gomar, and Clara Bargellini. Painting a New World, 1521–1821. Denver, CO: Denver Art Museum, 2004.
  728.  
  729. Save Citation »Export Citation »E-mail Citation »
  730.  
  731. Catalogue of an exhibition organized to educate the general public about the principal stylistic, technical, and iconographic developments of painting in New Spain during the three centuries of Spanish rule, with introductory essays and full discussion of each object displayed. The principal questions posed concern the activity of artists and their status in New Spain. The work can be used as a textbook in college classes on the art of this period.
  732.  
  733. Find this resource:
  734.  
  735. Toussaint, Manuel. Pintura colonial en México. 3d ed. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1990.
  736.  
  737. Save Citation »Export Citation »E-mail Citation »
  738.  
  739. Originally published in 1965 (Mexico City: Universitaria) and revised by Xavier Moyssén in 1982, and published again in 1990 (Mexico City: Investigaciones Estéticas, Universidad Nacional Autónoma de México). Of course, much has been learned since Toussaint wrote the book, and several of his judgments, such as the “decadence” of painting in the 18th century, are no longer accepted, but many of the text’s stylistic analyses, comparisons, and perceptions, and the sheer amount of information, make this an indispensable source.
  740.  
  741. Find this resource:
  742.  
  743. Vargaslugo, Elisa, Pedro Ángeles Jiménez, Pablo Escalante Gonzalbo, et al. Images of the Natives in the Art of New Spain, 16th to 18th Centuries. Mexico City: Fomento Cultural Banamex, 2005.
  744.  
  745. Save Citation »Export Citation »E-mail Citation »
  746.  
  747. Accompanied an exhibition of then newly discovered paintings of indigenous individuals depicted in religious and secular contexts. The essays and descriptions explain the art and iconography of the works, which are divided into three themes: military exploits of Spaniards and natives, integration of indigenous groups and individuals into the Catholic faith, and indigenous beliefs and celebrations in New Spain. Published simultaneously in Spanish: Imágenes de los naturales en el arte de la Nueva España, siglos XVI al XVIII.
  748.  
  749. Find this resource:
  750.  
  751. Painters
  752. Monographs on painters had a disinguished start with Maza 1964, and this is an area, along with interest in the artistic object, that has been gaining momentum, with studies such as Vargaslugo and Victoria 1985–1994; Tovar de Teresa 1995; Gutiérrez Haces, et al. 1997; and Sigaut 2002. Since the beginning of the 21st century, there is also renewed interest in the status and role of painting and painters in New Spain, expressed in the availabiliy of Cabrera 1756 and Mues Orts 2008.
  753.  
  754. Cabrera, Miguel. Maravilla americana y conjunto de raras maravillas, observadas con la direccion de las reglas de el arte de la pintura en la prodigiosa imagen de Nuestra Sra. de Guadalupe de Mexico. Mexico City: Colegio de San Ildefonso, 1756.
  755.  
  756. Save Citation »Export Citation »E-mail Citation »
  757.  
  758. Observations on the miraculous painting of the Virgin of Guadalupe by the 18th-century painter Miguel Cabrera. This text is, in effect, a treatise on painting in New Spain by the best painter of the mid-18th century. Text available online.
  759.  
  760. Find this resource:
  761.  
  762. Gutiérrez Haces, Juana, Pedro Ángeles, Clara Bargellini, and Rogelio Ruiz Gomar. Cristóbal de Villalpando, ca. 1649–1714; Catalogo razonado. Mexico City: Fomento Cultural Banamex, 1997.
  763.  
  764. Save Citation »Export Citation »E-mail Citation »
  765.  
  766. A fresh look at Villalpando, with additional documents and then newly discovered paintings as well as color photographs of his work. The book, which confirms the importance of the painter, accompanied an exhibition in Mexico City that also traveled to Madrid.
  767.  
  768. Find this resource:
  769.  
  770. Maza, Francisco de la. El pintor Cristóbal de Villalpando. Mexico City: Instituto Nacional de Antropología e Historia, 1964.
  771.  
  772. Save Citation »Export Citation »E-mail Citation »
  773.  
  774. The first book-length monograph on a viceregal painter. Maza seems to have identified with the artist, whom he recognized as profoundly original and “rebellious,” which was both a positive recognition of Villalpando’s baroque painting and an independent and fresh assessment, given the almost complete neglect of his work in the earlier historiography.
  775.  
  776. Find this resource:
  777.  
  778. Mues Orts, Paula. La libertad del pincel: Los discursos sobre la nobleza de la pintura en Nueva España. Mexico City: Universidad Iberoamericana, 2008.
  779.  
  780. Save Citation »Export Citation »E-mail Citation »
  781.  
  782. Study of the practice of painting in New Spain, with consideration of the status of painters in Mexico City, where the guild had been reinforced with new ordenances in 1686 and where artists were organizing themselves in an incipient academy. Includes transcriptions of sources and discussion of a Mexican painter’s manuscript translation of a 17th-century Italian treatise by Francesco Lana Terzi: El arte maestra: Traducción novohispana de un tratado pictórico italiano.
  783.  
  784. Find this resource:
  785.  
  786. Ruiz Gomar, Rogelio. El pintor Luís Juárez: Su vida y su obra. Monografías de arte. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1987.
  787.  
  788. Save Citation »Export Citation »E-mail Citation »
  789.  
  790. This was one of the first of the second-generation monographs on specific painters. Its organization is iconographic, that is, by the subject matter represented, which is a shift away from the purely stylistic approaches of earlier bibliography.
  791.  
  792. Find this resource:
  793.  
  794. Sigaut, Nelly. José Juárez: Recursos y discursos del arte de pintar. Mexico City: Museo Nacional de Arte, 2002.
  795.  
  796. Save Citation »Export Citation »E-mail Citation »
  797.  
  798. Catalogue of an exhibition on this painter, the most renowned among those working in Mexico City in the middle of the 17th century. Includes discussion of his style, print sources, and commentary on technical aspects of the paintings.
  799.  
  800. Find this resource:
  801.  
  802. Tovar de Teresa, Guillermo. Miguel Cabrera: Pintor de cámara de la reina celestial. Mexico City: InverMéxico, 1995.
  803.  
  804. Save Citation »Export Citation »E-mail Citation »
  805.  
  806. Compiles the documentation on the artist, whose early life nevertheless remains a mystery, and reproduces the inventory of his will. The numerous high-quality photographs exemplify how much technology can contribute to the knowledge of art.
  807.  
  808. Find this resource:
  809.  
  810. Vargaslugo, Elisa, and José Guadalupe Victoria, eds. Juan Correa: Su vida y su obra. 4 vols. Mexico City: Universidad Nacional Autónoma de México, 1985–1994.
  811.  
  812. Save Citation »Export Citation »E-mail Citation »
  813.  
  814. A monumental work, composed of a catalogue of paintings, a compilation of documents, and a group of iconographic studies.
  815.  
  816. Find this resource:
  817.  
  818. Iconology and Genres
  819. Listed here are some of the most significant texts that interpret specific paintings or groups of paintings made in New Spain in the 17th and 18th centuries. Not surprisingly, the Virgin of Guadalupe appears twice (Maza 1992; Cuadriello, et al. 2001). Secular themes were also always present in the art of New Spain, and interest in them has been growing, as in Schreffler 2007, on 17th-century political iconography. The same can be said for the 18th century, with texts on the history painting (Cuadriello 2011), casta painting (Katzew 2004), and scientific illustration (Bleichmar 2012). Palm and Vargaslugo 1987 is a pioneer effort in iconological studies for New Spain.
  820.  
  821. Bleichmar, Daniela. Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment. Chicago: University of Chicago Press, 2012.
  822.  
  823. DOI: 10.7208/chicago/9780226058559.001.0001Save Citation »Export Citation »E-mail Citation »
  824.  
  825. Studies the drawings and paintings produced by the Spanish scientific expeditions at the end of the viceregal period. These enterprises employed large numbers of artists and draftsmen to record places and objects. In New Spain these men came largely from the recently founded (1783) Royal Academy of San Carlos, thus confirming its usefulness.
  826.  
  827. Find this resource:
  828.  
  829. Cuadriello, Jaime. The Glories of the Republic of Tlaxcala: Art and Life in Viceregal Mexico. Translated by Christopher J. Follett. Lozano Long Institute of Latin American Studies Translations from Latin America. Austin: University of Texas Press, 2011.
  830.  
  831. Save Citation »Export Citation »E-mail Citation »
  832.  
  833. English translation of Las glorias de la República de Tlaxcala, o, La conciencia como imagen sublime, originally published in 2004 (Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México). This book analyzes the meanings of a series of paintings made between 1789 and 1791 to narrate and glorify the history of Tlaxcala’s adoption of Christianity and of its alignment with the Spaniards, whom the Tlaxcaltecas assisted in conquering Mexico City.
  834.  
  835. Find this resource:
  836.  
  837. Cuadriello, Jaime, Rosario Inés Granados Salinas, and Paula Mues Orts. El divino pintor: La creación de María de Guadalupe en el taller celestial. Mexico City: Museo de la Basílica de Guadalupe, 2001.
  838.  
  839. Save Citation »Export Citation »E-mail Citation »
  840.  
  841. Catalogue of an exhibition, accompanied by essays on the making and meaning of the Guadalupe painting. Cuadriello’s is especially complete.
  842.  
  843. Find this resource:
  844.  
  845. Katzew, Ilona. Casta Painting: Images of Race in Eighteenth-Century Mexico. New Haven, CT: Yale University Press, 2004.
  846.  
  847. Save Citation »Export Citation »E-mail Citation »
  848.  
  849. Contributed decisively to the understanding of this 18th-century Mexican painting genre: the representation of racial mixtures by showing couples of different races and their offspring. The book brings together many examples and examines critically previous bibliography and the different interpretations that have been given to these works. Accompanied an exhibition prepared for the Los Angeles County Museum of Art.
  850.  
  851. Find this resource:
  852.  
  853. Maza, Francisco de la. El guadalupanismo mexicano. 3d ed. Lecturas mexicanas. Mexico City: Fondo de Cultura Económica, 1992.
  854.  
  855. Save Citation »Export Citation »E-mail Citation »
  856.  
  857. Originally published in 1953 (Mexico City: Porrúa y Obregón) and again in 1981 and 1984 (Mexico City: Fondo de Cultura Económica). Despite the relatively late translation of some of Erwin Panofsky’s writings into Spanish (1972), studies in iconography and iconology had begun to appear in Mexico before then, though they were not named as such. This text is a prime example. It discusses the meanings and importance of the Guadalupe story and image for understanding the culture not only of New Spain, but also of modern Mexico.
  858.  
  859. Find this resource:
  860.  
  861. Palm, Erwin Walter, and Elisa Vargaslugo, eds. Iconología y sociedad: Arte colonial hispanoamericano. Papers presented at the XLIV Congreso Internacional de Americanistas, Mexico City, 1982. Estudios de arte y estética. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1987.
  862.  
  863. Save Citation »Export Citation »E-mail Citation »
  864.  
  865. One of the first books to focus on problems of the iconology of works of viceregal art from all three centuries of the history of New Spain.
  866.  
  867. Find this resource:
  868.  
  869. Schreffler, Michael. The Art of Allegiance: Visual Culture and Imperial Power in Baroque New Spain. University Park: Pennsylvania State University Press, 2007.
  870.  
  871. Save Citation »Export Citation »E-mail Citation »
  872.  
  873. Explores the response in 17th-century Mexico City to the display and interplay of celebratory texts, royal and viceroyal portraits, folding screens with views of Mexico City and its conquest by the Spaniards, and enconchado panels. The emphasis is particularly on the decoration of the Royal Palace, in Mexico City, with its portraits of kings and viceroys. The author considers possible interpretations by different groups of people.
  874.  
  875. Find this resource:
  876.  
  877. Sculpture
  878. Influenced by the negative view of polychrome imagery engendered by the neoclassicism of the Royal Academy of San Carlos, scholars took a long time to become seriously engaged with the wooden, gilded, and painted figures that constitute the bulk of the sculpture created in New Spain. Indeed, the first modern author to look at the sculpture of New Spain seriously, José Moreno Villa, was more interested in the 16th-century stone figures and reliefs carved by native artists (Moreno Villa 1942). Scholarship on polychrome wood sculpture began to develop noticeably in the 1990s (Curiel 1990, Maquívar 1995), and some work has also been done on sculpture in other media (Sánchez Navarro de Pintado 1986). The study of sculpture has been growing quickly, as evidenced in Sigaut 2006, Díaz Cayeros 2012, and the online journal Encrucijada, whose inaugural issue was in 2008.
  879.  
  880. Curiel, Gustavo, ed. Imaginería virreinal: Memorias de un seminario. Papers presented at “Seminario de escultora esplendor virreinal: Guatemala y México,” Tepotzotlán, 1987. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1990.
  881.  
  882. Save Citation »Export Citation »E-mail Citation »
  883.  
  884. Essays from the first international meeting held on the subject of polychrome sculpture, in which scholars from Mexico and Guatemala exchanged information on its materials, techniques, and iconography.
  885.  
  886. Find this resource:
  887.  
  888. Díaz Cayeros, Patricia. Ornamentación y ceremonia: Cuerpo, jardín y misterio en el coro de la catedral de Puebla. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 2012.
  889.  
  890. Save Citation »Export Citation »E-mail Citation »
  891.  
  892. A thoroughly researched and original study on the making and uses of choir stalls and their space.
  893.  
  894. Find this resource:
  895.  
  896. Encrucijada. 2008–.
  897.  
  898. Save Citation »Export Citation »E-mail Citation »
  899.  
  900. The online journal of a seminar established in 2008 for the study of the sculpture of New Spain.
  901.  
  902. Find this resource:
  903.  
  904. Maquívar, María del Consuelo. El imaginero novohispano y su obra: Las esculturas de Tepotzotlán. Colección Obra diversa. Mexico City: Instituto Nacional de Antropología e Historia, 1995.
  905.  
  906. Save Citation »Export Citation »E-mail Citation »
  907.  
  908. Study of the important collection of sculpture of the Museo Nacional del Virreinato, in Tepotzotlán, with discussion of woods, tools, pigments, and polychrome patterns.
  909.  
  910. Find this resource:
  911.  
  912. Moreno Villa, José. La escultura colonial mexicana. Mexico City: Colegio de México, 1942.
  913.  
  914. Save Citation »Export Citation »E-mail Citation »
  915.  
  916. The first serious study of the sculpture of New Spain. The author, a Spanish refugee, scholar, and poet, suggests the term tequitqui (tributary) to denote 16th-century stone sculpture by indigenous artists.
  917.  
  918. Find this resource:
  919.  
  920. Sánchez Navarro de Pintado, Beatriz. Marfiles cristianos del oriente en México. Mexico City: Fomento Cultural Banamex, 1986.
  921.  
  922. Save Citation »Export Citation »E-mail Citation »
  923.  
  924. The only extensive text dedicated to ivory sculpture. Includes good photographs, bibliographic references, and explanatory texts, some based on documents from the colonial period. The works are subdivided into two groups: those that evidence influence from India (“indo portuguese”) and those that show Chinese strains (“chino hispanic”).
  925.  
  926. Find this resource:
  927.  
  928. Sigaut, Nelly, ed. Guadalupe: Arte y liturgia; La sillería de coro de la colegiata. 2 vols. Colección Imágenes. Zamora, Mexico: Colegio de Michoacán, 2006.
  929.  
  930. Save Citation »Export Citation »E-mail Citation »
  931.  
  932. Two-volume work: the first part is historical; the second describes the choir stalls, which were disassembled in the early 20th century. The reliefs that have been preserved were inspired by the prints of the Spaniard Matias de Arteaga y Alfaro (b. 1633–d. 1703).
  933.  
  934. Find this resource:
  935.  
  936. Altarpieces (Retablos)
  937. The first published study of the carved and gilded altarpieces of New Spain, complemented by paintings and sculptures, was Maza 1950, which established parameters for defining their compositions and exploring their iconography. Maquívar 1976 explains the iconography of an important 18th-century group of these works, whereas Tovar de Teresa and Ortíz Lajous 1985 presents data on the materials and stylistic antecedents of the most important 18th-century retablo, the Retablo de los Reys, in the cathedral of Mexico City. Bargellini 1993 examines a 17th-century Jesuit altarpiece. Ruiz 2005 is a systematic collection of information on all the altarpieces of Mexico City.
  938.  
  939. Bargellini, Clara. El Retablo de la Virgen de los Dolores. Mexico City: Centro Cultural Arte Contemporáneo, 1993.
  940.  
  941. Save Citation »Export Citation »E-mail Citation »
  942.  
  943. A stylistic and iconological study tracing the history of this late-17th-century altarpiece from the Jesuit hacienda of Santa Lucía and the altarpiece’s relationship to a famous, earlier work in the church of San Pedro y San Pablo, in Mexico City, known only through a description in a sermon. Connects these altarpieces to Jesuit devotion to the Virgin of Sorrows and to specific paintings and Flemish engravings.
  944.  
  945. Find this resource:
  946.  
  947. Maquívar, María del Consuelo. Los retablos de Tepotzotlán. Colección Cientifica: Catálogos y biografías. Mexico City: Instituto Nacional de Antropología e Historia, 1976.
  948.  
  949. Save Citation »Export Citation »E-mail Citation »
  950.  
  951. A stylistic and iconographic approach to this spectacular collection of 18th-century works, which are still in their original location, in the church of the Jesuit novitiate at Tepotzotlán which is part of the Museo Nacional del Virreinato).
  952.  
  953. Find this resource:
  954.  
  955. Maza, Francisco de la. Los retablos dorados de Nueva España. Enciclopedia mexicana de arte. Mexico City: Ediciones mexicanas, 1950.
  956.  
  957. Save Citation »Export Citation »E-mail Citation »
  958.  
  959. The first published book on the subject, in which the author studies the formal and stylistic compositions of several altarpieces, thus establishing the course of most of the bibliography since. He also looks at the iconography of the combinations of paintings and sculptures that make up these objects.
  960.  
  961. Find this resource:
  962.  
  963. Ruiz, Armando, ed. Los retablos de la Ciudad de México, siglos XVI al XX. Mexico City: Asociación del Patrimonio Artístico Mexicano, 2005.
  964.  
  965. Save Citation »Export Citation »E-mail Citation »
  966.  
  967. Catalogue, with information on and descriptions of all the altarpieces in the churches of Mexico City, most from the viceregal period. Ordered chronologically, each section has an introductory essay, and each retablo its own explanatory text.
  968.  
  969. Find this resource:
  970.  
  971. Tovar de Teresa, Guillermo, and Jaime Ortíz Lajous. Catedral de México: Retablo de los Reys; Historia y restauración. Mexico City: Secretaría de Desarrollo Urbano y Ecología, 1985.
  972.  
  973. Save Citation »Export Citation »E-mail Citation »
  974.  
  975. In addition to good illustrations and drawings, and consideration of a restoration of this 1718–1737 altarpiece, this book includes transcriptions of documents describing proposals for the altarpiece before the existing one was built. None of these descriptions are of the Retablo de los Reyes we know, but the texts give an overview of the tastes of the period.
  976.  
  977. Find this resource:
  978.  
  979. Paper, Silver, Wood, Mayólica, and Textile Arts
  980. The bibliography on all these “minor” arts includes some classic texts but has begun to grow since the late 20th century, in some cases exponentially. This selection is of both old and more recent basic sources. Prints have been present for many years in the bibliography of the arts of New Spain, but mostly they have appeared in publications on books or as complementary material in discussions of paintings, for which the prints possibly served as models. Báez, et al. 1988 is one of the first studies to give more attention to a group of prints than on the texts they accompany. Garone Gravier 2012 looks at the typography of printed books in New Spain and the early Mexican republic. Esteras Martín 1992 is a good introduction to the silverwork of New Spain, whereas Gavin, et al. 2003 places Mexican talavera in a broad cultural and artistic context. Rivero Borrell, et al. 2002 introduces a range of decorative arts made or used in New Spain.
  981.  
  982. Báez Macías, Eduardo, Jorge Guerra Ruiz, and Judith Puente León. Libros y grabados en el fondo de origen de la Biblioteca Nacional. Cuadernos de historia del arte. 2 vols. Mexico City: Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, 1988.
  983.  
  984. Save Citation »Export Citation »E-mail Citation »
  985.  
  986. Catalogue of woodcuts, engravings, and title pages of some of the most important items in the rare book section of the National Library of Mexico, in Mexico City.
  987.  
  988. Find this resource:
  989.  
  990. Esteras Martín, Cristina. La platería del Museo Franz Mayer: Obras escogidas, siglos XVI–XIX. Mexico City: Museo Franz Mayer, 1992.
  991.  
  992. Save Citation »Export Citation »E-mail Citation »
  993.  
  994. A well-documented and illustrated catalogue of important pieces from an outstanding collection of Mexican silver by the top specialist on the subject. A good introduction to this area of study.
  995.  
  996. Find this resource:
  997.  
  998. Garone Gravier, Marina. La tipografía en México: Ensayos históricos, siglos XVI al XIX. Colección Espiral. Mexico City: Universidad Nacional Autónoma de México, 2012.
  999.  
  1000. Save Citation »Export Citation »E-mail Citation »
  1001.  
  1002. A pioneering collection of texts on Mexican typography from the perspective of art history and visual studies.
  1003.  
  1004. Find this resource:
  1005.  
  1006. Gavin, Robin Farwell, Donna Pierce, and Alfonso Pleguezuelo, eds. Cerámica y Cultura: The Story of Spanish and Mexican Mayólica. Albuquerque: University of New Mexico Press, 2003.
  1007.  
  1008. Save Citation »Export Citation »E-mail Citation »
  1009.  
  1010. A collection of essays placing Mexican talavera in the broad context of its origins in Spain. Addresses as well questions of commerce, function, and modern revivals. A good introduction to the subject.
  1011.  
  1012. Find this resource:
  1013.  
  1014. Rivero Borrell, Héctor, Gustavo Curiel, Antonio Rubial García, Juana Gutiérrez Haces, Peter C. Marzio, and David B. Warren. The Grandeur of Viceregal Mexico: Treasures from the Museo Franz Mayer/La grandeza del México virreinal: Tesoros del Museo Franz Mayer. Houston, TX: Museum of Fine Arts, Houston, 2002.
  1015.  
  1016. Save Citation »Export Citation »E-mail Citation »
  1017.  
  1018. Catalogue of an exhibition based entirely on the collections of the Museo Franz Mayer, in Mexico City, whose strengths are its holdings of what have wrongly been called minor, or decorative, arts. Contains sections on furniture, ceramics, silver, iron, textiles, lacquer, and books as well as painting and sculpture. A good introduction to the general topic.
  1019.  
  1020. Find this resource:
  1021.  
  1022. Material and Technical Studies
  1023. This is a rapidly growing field of study that is directly affecting the perception and appreciation of the art of New Spain. Carrillo y Gariel 1983 is a reprint of what was, for many years, the only existing treatment of how paintings were made in New Spain. Wolf and Connors 2011 resulted in the digitalization of the 16th century Florentine Codex. Phipps 2010 looks at the topic of color in both New Spain and Peru. Komanecky, et al. 1999 focuses on one material, copper, which was widely used in New Spain as a support for painting.
  1024.  
  1025. Carrillo y Gariel, Abelardo. Técnica de la pintura de Nueva España. 2d ed. Mexico City: Universidad Nacional Autónoma de México, 1983.
  1026.  
  1027. Save Citation »Export Citation »E-mail Citation »
  1028.  
  1029. Originally published in 1946 (Mexico City: Universitaria). The reappearance of this book is a testament to the renewed interest in questions of the materiality of artworks produced in New Spain.
  1030.  
  1031. Find this resource:
  1032.  
  1033. Komanecky, Michael, Edgar Peters Bowron, Clara Bargellini, et al. Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1525–1775. New York: Oxford University Press, 1999.
  1034.  
  1035. Save Citation »Export Citation »E-mail Citation »
  1036.  
  1037. This exhibition catalogue includes much technical information on paintings on copper from the early modern period in general. The text also discussses this type of painting, especially in New Spain and elsewhere in Spanish America; in New Spain, copper was used as a support for feather painting as well as for the more common European painting techniques. Includes full catalogue entries on the objects in the exhibition.
  1038.  
  1039. Find this resource:
  1040.  
  1041. Phipps, Elena. Cochineal Red: The Art History of a Color. New Haven, CT: Yale University Press, 2010.
  1042.  
  1043. Save Citation »Export Citation »E-mail Citation »
  1044.  
  1045. Thorough and useful study of this pigment, based on historical research and on analysis of textile holdings, particularly those of the Metropolitan Museum of Art. Cochineal was a major New World contribution to art in the early modern period; made from insects that were cultivated for the purpose, American cochineal, produced in New Spain and Peru, became a major trade commodity from the 16th century onward.
  1046.  
  1047. Find this resource:
  1048.  
  1049. Wolf, Gerhard, and Joseph Connors, eds. Colors between Two Worlds: The Florentine Codex of Bernardino de Sahagún. Papers presented at a conference at Villa I Tatti and the Kunsthistorisches Institut in Florenz, Florence, 12–13 June 2008. Florence: Villa I Tatti, 2011.
  1050.  
  1051. Save Citation »Export Citation »E-mail Citation »
  1052.  
  1053. Proceedings of an international conference focused on technical study, especially of pigments, of the Códice florentino (Florentine codex, 1576–1577), produced by fray Bernardino de Sahagún and native artists. Offers contributions by scholars on the topic of color and pigments in the codex and in related objects as well as some discussion of European materials.
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