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According to legend, on December 8, 1531, the Virgin Mary appeared
to the newly Christianized Juan Diego on the Mexican hill of
Tepeyacac. As proof of her divine visit, she miraculously imprinted
her image upon his mantle. That image, known as Our Lady of
Guadalupe, has become a symbol of national consciousness in Mexico
and a talisman for Mexican Americans. Yet its notable features
include obviously European artistic techniques. How is it that
Renaissance styles are employed in a 16th century Mexican icon
supposedly not made by human hands? Looking beyond the divine
explanation for the Lady's existence, author John Moffitt uses
historical and artistic detective work to determine the work's
earthly origin. Originally published in Spanish, this volume
provides an in-depth study of Our Lady of Guadalupe. It places the
work within the context of art history as well as local
contemporary events. The mundane origin of the painting is fully
traced and investigated as well as the proliferation of the legend
which led to the eventual canonization of Juan Diego as the first
native Mexican saint. Appendices provide crucial related
Spanish-language texts by Miguel Sanchez (1648) and Luis Laso de la
Vega (1649, originally published in Nahuatl). Numerous
illustrations are included.
Italian painter Caravaggio was recognized by his contemporaries as
a dedicated practitioner of il naturalismo and a learned painter.
His use of the chiaroscuro technique was skilled and his subject
matter, still lifes and genre paintings, was unique. Through
detailed analysis of works from Caravaggio's early Roman period,
1594-1602, this study places his art in a humanistic context,
making it an expression of ""learned naturalism,"" a procedure
committed to a close study of the phenomenal world and
corresponding to contemporary ventures into empirical science. The
work grounds Caravaggio's artistic techniques in cultural context
and situates his subject matter within the interest of his patrons,
influential Romans whose tastes reflected current Renaissance
interests in humanistic studies, emblematic literature, and
classical lore. The end result is to show an artist who was
thoroughly grounded in the humanist milieu of his erudite patrons.
Sources include writings addressing art's instructive purposes and
the classical literary sources commonly manipulated in Caravaggio's
time. The work is illustrated with Caravaggio's works as well as
related images.
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