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By Mary D. Sheriff

Paintings historians have lengthy been acquainted with pondering artwork and artists when it comes to nationwide traditions. This quantity takes a unique technique, suggesting in its place background of artwork according to nationwide divisions usually obscures the tactics of cultural appropriation and worldwide alternate that formed the visible arts of Europe in basic methods among 1492 and the early 20th century.
Essays the following examine particular zones of contact--between numerous ecu states, among Asia and Europe, or among Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing ordinarily yet now not solely on portray, drawing, or the ornamental arts. every one case foregrounds the centrality of overseas borrowings or colonial appropriations and counters conceptions of eu paintings as a "pure" culture uninfluenced by means of the creative different types of different cultures. The participants research the social, cultural, advertisement, and political stipulations of cultural contact--including tourism, colonialism, spiritual pilgrimage, exchange missions, and clinical voyages--that enabled those exchanges good ahead of the trendy age of globalization.

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Additional resources for Cultural Contact and the Making of European Art since the Age of Exploration (Bettie Allison Rand Lectures in Art History)

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Although their exact meaning has never been deciphered, the manner in which they function in his text makes the important point that they are a culturally hybrid means of communication. The arms of Christ are visual signs of the sort that missionaries widely understood as a pictorial language comparable to Nahuatl pictograms. The Franciscans in particular were interested in Indian hieroglyphics. 33 This fact in itself is perhaps less significant in the present context of discussion than the method of learning through pictograms.

Gerhard Wolf is currently organizing an exhibition at the Metropolitan Museum of Art on featherwork. 18. See further discussion by Donna Pierce in Mexico: Splendors of Thirty Centuries, exhibition catalog (New York: Metropolitan Museum of Art, 1990), 260–63, and Detlef Heikamp and Ferdinand Anders, Mexico and the Medici (Florence, 1972), 16–18. The Mass of St. Gregory was depicted on a number of feather mitres and in murals in Franciscan convents at Tepeapulco and Cholula, as noted by De Gerlero and Martínez del Río de Redo, in Mexico: Splendors of Thirty Centuries, 259–60.

See Hanke, “Pope Paul III,” 68–71; Bishop Garcés wrote a letter to Paul III on the recent missionary activity of Bernardino de Minaya that paved the way for the pope’s momentous bull Sublimis Deus. 26. , National Gallery of Art, Fifteenth-Century Engravings of 39 Claire Farago Northern Europe, exhibition catalog by Alan Shestack (1968), cat. no. 214 (similar engravings by the same artist are cataloged as nos. 214 and 215). 27. On the history of the iconography in Europe, see J. A. Andres, “Die Darstellung des Gregoriusmesse im Mittelalter,” Zeitschrift für Christliche Kunst 30 (1917): 145–56, cited in Shestack, Fifteenth-Century Engravings, cat.

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