Latin American Art, Coursework Example

Introduction

The depiction of people in the non-traditional way is the most important aspect of Latin American art. The representation of ethnic features, body language, gestures and attitudes, while depicting the lifestyle and closeness to nature is the most important aspect of artists’ view. The below essay is designed to review three different visual representation examples of Latin America: Albert Eckhout’s Tapuia woman,  Miguel Cabrera’s De Negro e India and Carmela Fernandez’  Tipo Africano y mestiza.

Latin American art is often depicted as a result of the mixing of different cultures. Dean and Lebosohn (2003) state that the reason why Latin America had a strong cultural and artistic heritage is because cultures are collective. Interaction between European (Spanish and Protuguese) people and natives has created an environment where the elements of Baroque, Renaissance and modern art can be easily combined with natural scenes and colonial traditions. The below essay is designed to reveal the connection between cultural interaction and representation of cultures through the analysis of ther above images.

Historical Context

Mabry (2002) states that the term “Latin America” is questionable when talking about cultures. Indeed, there are several cultural, economic and traditional differences between countries like Mexico and Brazil. Different nations occupied the lands for hundreds of years before the 300-year colonization of the continent started. The story of all nations depended on who explored, colonized and exploited the land people lived on. However, in order to evaluate the colonial aspect of visual art development, the authors would like to use the term as an “umbrella” term for depicting not the unique culture of the countries, but the common aspect of the histories: colonization.

While Native Americans’ collective name suggests that they were originated in Central and South America, this is far from the truth. According to Mabry (2002: viii), groups of people living there during the colonization were just “early immigrants”. Migration within the continent was also a common custom: wars between tribes and groups were often violent; cultures of the Azteks and Incas, Mayas appeared and disappeared during the centuries before the beginning of the European migration. Little is known about the history of nations within South and Central America before the colonization, however, it is well known that for centuries the region was highly militarized.

The age of colonization was the period of Renaissance. Europe, including Spain and Portugal were re-discovering the value of experimentation, the laws of nature and started to become curious about life. This resulted in an increased curiosity of people who landed on the newly discovered land. The influence that the colonizing cultures (Spain and Portugal) imposed on the nations living in America at the time was visible in lifestyle, agriculture, technology, religion and customs.

After the conquest of Mexico, several further military actions were carried out to impose Europeans’ superiority on natives.

Depiction of Nature

In the art of Albert Eckhout, the depiction of still images, people and natural scenes is the main theme. Working in Brazil, the Dutch artist used the 17^th Century’s methods for depicting nature, however, his images were much stiller, calmer and more colourful.

In Carbera’s “ De Negro e India”, nature is only depicted in the background. The representation of nature the artist focuses on is the skin color and body language of the people on the image. The woman, while does not appear European, is dressed, the little boy and man in the background are organized in a manner that the setting can resemble the traditional Renaissance depiction of Mary, Joseph and Baby Jesus. Indeed, showing the humanity of the natives through the image, the artist emphasizes one of the major values of Renaissance: humanity.

Nature is also depicted in Fernandez’ image, but the painting is not full of colors; it looks more like we are at a plantation than in a native village. The characters are likely to stand on a road that leads to a plantation, field or colonial settlement.

Ethnic Representation

The works of Eckhout are full of unique features of Tupis (native Indians). Interestingly, the tribes living at the place where Eckhout resides were the closest in culture and appearance to Europeans. They did clothe themselves, engaged in agriculture, unlike some nomadic and warrior tribes. The “Tapiuia Woman” painting, however, depicts strong ethnographic features and native scenes. While it is clearly visible that the woman’s gesture, body language and even gaze is similar to the images created by European artists back in the continent, there are some clear demonstrations of ethnicity. The woman holds a cut-off hand in the right hand and a cut-off leg is peeking out of her basket. The artist is creating a contrast between the calm scene and the violence that the cut off limbs and head indicate. The body language of the woman is calm, and she seems undisturbed, content. Peace and stillness is represented by the artist by showing a dog drinking of the water. There is nothing to disturb him.

In Fernandez’ image: “Tipo Africano y mestiza”, depicts the impact of the cultural and ethnic impact of colonization. The depicted métis person is not only a representation of racial diversity, but the scene, setting and features also depict a homogenized society. The people on the image (two women and one man) all represent new races to the American continent. While they wear European style clothes, the man and the woman at the front look ahead at the observer, while the third person, a dark-skinned woman looks out of the picture. The native features of the man and his dark skin suggest that he might be an African American. He does not wear a shoe, even though he is dressed in white trousers. The hairstyle of the women suggests that they are from a respectable family, even though one of them has pale skin, the other one has  dark brown. It seems like the two characters at the front of the picture are looking at the observer as if they were distracted in an important conversation. The other woman does not seem to be interested in joining in the discussion. The body language of the woman at the front also suggests that she is in charge and has authority over the rest, while the leisurely pose of the man indicates that he is either an observer, an overseer or is having a rest.

Colonization

The impact of colonization is represented in different ways in the three paintings examined today. First, ethnic features of people are represented. Further to represent the virtue of humanity that is the very own of Renaissance artists, people of colour and different cultures are represented in the same way as Europeans. Even the body language of the Tapiuia Woman does resemble Renaissance paintings’ Madonna image: she tries to cover her breasts with her hands, indicating innocence. The themes of European culture appear on the rural paintings; the composition of Cabrera resembles the earlier painting of Murillo (cc. 1650) titled: “The Holy Family with a Little Bird”. In that image, Mary is on the left side of the picture, while Joseph is holding Jesus. Just like in Murillo’s painting, the male character is depicted as strong and young, but his gaze is upon the woman, instead of the child. This change in the setting might indicate the influence of the culture that is associated with families of African Americans. The white woman on the picture with the black boy and man emphasizes the acceptance of interracial relationships, very common in the Colonies.

Race also has a great importance in the image “Tipo Africano y mestiza”. The composition of the picture indicates that different hierarchies are associated with the three people on the painting. The black man, who does not wear a shoe has good clothes and is strong. He is useful in the colonies, therefore, he is higher up than the woman in the background. The observer can assume that the white woman is in charge because she is well-dressed, wears a shoulder scarf to protect her skin from the sun and her face represents authority. She looks strict. On the other hand, the black girl in the background does not seem to belong to the group; she might be a part of the family or a worker, but she is gazing into a different direction. It is impossible to guess what she is looking at, but she is certainly not taking part in the conversation.

Colonial setting was representing the effect of the domesticated empire that was imposed on native Americans. (Stolley, 2013: 17). Casta paintings of Latin America were originally created for the patrons of upper classes (Dean and Leibsohn, 2003: 9). They represented the ethnic and social impacts of colonization: the “dilution of pure… blood” (Ibid: 17). The representation of “castas” is one of the main features of “Tipo Africano y mestiza” and the “ De Negro e India”. Original casta paintings were made up of 16 different images, creating a whole series, with white people appearing at the front and darker people in the background. This pattern is not followed by “Tipo Africano y mestiza”, but it is present in  “De Negro e India”. The lighter woman (possibly native Indian) is at the front, gazing forward, while the man is gazing at her.

Construmbismo, on the other hand, is represented by the imagery of “Tapiuia Woman”. This form of art was popular in both Spain and Latin America in the 19^th Century. The main reason for creating these artworks (and writings) was to emphasize the similarity between natives and Spaniards, while trying to create a new colonial national identity (Moriuchi, 2013: 4).

Imagery

The imagery representation of nature, vegetation and geographical features is somewhat similar to the illustrations that were created by travellers in the 18^th and 19^th centuries to educate Europeans about the peculiarities of the climate, vegetation and animals. The trees, plants and animals are detailed enough to serve educational purposes on the two paintings: “Tipo Africano y mestiza” and the “ De Negro e India”. Ades (1989: 64) states that Echout and Post were the artists who, after the Dutch occupation spread the word about the unique culture of the colonies. All the images could serve as a type of “Construmbismo” that educates people in the “Old World” about nature, customs and races in America.

Conclusion

While the influence of original native culture on European colonial society is not found in the paintings examined above, there is a clear evidence that all three artists were trying to find connections between different ethnic groups on the ground of humanity. Hence the emerging and thriving forms of art like “Construmbismo” and casta paintings. The European migrants of the new world did not only want to understand the culture and customs of the native people; they mixed with them and wanted to create a new nation, separating themselves from the original culture and traditions of Europe. They were on a quest; exploring different worlds, languages, customs, and this quest for nature was in line with the artistic movement of Renaissance. Being a white person among native Americans and African Americans has created a motivation in Europeans to explore their own national identity. They, through observing other people living close to nature, their customs brought the Humboldt project to life (Ades, 1989: 68). They wanted to document the diversity of life, nature and humans through writing, travellers’ tales, archeological and anthropological studies. Combining the representation of nature, science and the picturesque scenes, as well as humanity, the above examined paintings created a new form of exploration through artistic work.

Reference List

Ades, D. (1989) Art in Latin America: The Modern Era, 1820-1980. Yale University Press

Dean, C., Leibsohn, D. (2003) “Hybrydity and Its Disconents: Considering Visual Culture in Colonial Spanish America” Colonial Latin American Review. Vol. 12. No. 1.

Marby, D. (2002) Colonial Latin America. Llumina Print. The Historical Text Archive

Moriuchi, M. (2013) ‘From “Les types populaires” to “Los tipos populares”: Nineteenth-Century Mexican Costumbrismo’ Nineteenth-Century Art Worldwide.

Stolley, K. (2013) Domesticating Empire: Enlightenment in Spanish America. Vanderbilt University Press.