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The book provides the first broad survey of church textiles of
Spanish America and demonstrates that, while overlooked, textiles
were a vital part of visual culture in the Catholic Church. When
Catholic churches were built in the New World in the sixteenth
century, they were furnished with rich textiles known in Spanish as
“church clothing.” These textile ornaments covered churches’
altars, stairs, floors, and walls. Vestments clothed priests and
church attendants, and garments clothed statues of saints. The
value attached to these textiles, their constant use, and their
stunning visual qualities suggest that they played a much greater
role in the creation of the Latin American Church than has been
previously recognized. In Clothing the New World Church, Maya
Stanfield-Mazzi provides the first comprehensive survey of church
adornment with textiles, addressing how these works helped
establish Christianity in Spanish America and expand it over four
centuries. Including more than 180 photos, this book examines both
imported and indigenous textiles used in the church, compiling
works that are now scattered around the world and reconstructing
their original contexts. Stanfield-Mazzi delves into the hybrid or
mestizo qualities of these cloths and argues that when local
weavers or embroiderers in the Americas created church textiles
they did so consciously, with the understanding that they were
creating a new church through their work. The chapters are divided
by textile type, including embroidery, featherwork, tapestry,
painted cotton, and cotton lace. In the first chapter, on woven
silk, we see how a “silk standard” was established on the basis
of priestly preferences for this imported cloth. The second chapter
explains how Spanish-style embroidery was introduced in the New
World and mastered by local artisans. The following chapters show
that, in select times and places, spectacular local textile types
were adapted for the church, reflecting ancestral aesthetic and
ideological patterns. Clothing the New World Church makes a
significant contribution to the fields of textile studies, art
history, Church history, and Latin American studies, and to
interdisciplinary scholarship on material culture and indigenous
agency in the New World.
Rethinking the role of the artist and recovering the work of
unacknowledged creators in colonial society This volume addresses
and expands the role of the artist in colonial Latin American
society, featuring essays by specialists in the field that consider
the ways society conceived of artists and the ways artists defined
themselves. Broadening the range of ways that creativity can be
understood, contributors show that artists functioned as political
figures, activists, agents in commerce, definers of a canon, and
revolutionaries. Chapters provide studies of artists in Peru,
Mexico, and Cuba between the sixteenth and early nineteenth
centuries. Instead of adopting the paradigm of individuals working
alone to chart new artistic paths, contributors focus on human
relationships, collaborations, and exchanges. The volume offers new
perspectives on colonial artworks, some well known and others
previously overlooked, including discussions of manuscript
painting, featherwork, oil painting, sculpture, and mural painting.
Most notably, the volume examines attitudes and policies related to
race and ethnicity, exploring various ethnoracial dynamics of
artists within their social contexts. Through a decolonial lens not
often used in the art history of the era and region,Collective
Creativity and Artistic Agency in Colonial Latin America examines
artists’ engagement in society and their impact within it.
Publication of this work made possible by a Sustaining the
Humanities through the American Rescue Plan grant from the National
Endowment for the Humanities.
Rethinking the role of the artist and recovering the work of
unacknowledged creators in colonial society This volume addresses
and expands the role of the artist in colonial Latin American
society, featuring essays by specialists in the field that consider
the ways society conceived of artists and the ways artists defined
themselves. Broadening the range of ways that creativity can be
understood, contributors show that artists functioned as political
figures, activists, agents in commerce, definers of a canon, and
revolutionaries. Chapters provide studies of artists in Peru,
Mexico, and Cuba between the sixteenth and early nineteenth
centuries. Instead of adopting the paradigm of individuals working
alone to chart new artistic paths, contributors focus on human
relationships, collaborations, and exchanges. The volume offers new
perspectives on colonial artworks, some well known and others
previously overlooked, including discussions of manuscript
painting, featherwork, oil painting, sculpture, and mural painting.
Most notably, the volume examines attitudes and policies related to
race and ethnicity, exploring various ethnoracial dynamics of
artists within their social contexts. Through a decolonial lens not
often used in the art history of the era and region,Collective
Creativity and Artistic Agency in Colonial Latin America examines
artists’ engagement in society and their impact within it.
Publication of this work made possible by a Sustaining the
Humanities through the American Rescue Plan grant from the National
Endowment for the Humanities.
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