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The final installment in the series of catalogues of the Robert Woods Bliss Collection, Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks examines a comprehensive collection of jade and gold objects from Costa Rica, Panama, and Colombia. Full color photographs illustrate the breathtaking works of Indigenous artists and artisans.
This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.
Pre-Columbian Central America, Colombia, and Ecuador: Toward an Integrated Approach presents current research on the prehispanic indigenous peoples in the lands between Mesoamerica and the Andes. Specialists have contributed to this illustrated book on topics ranging from historical and theoretical perspectives to reports on recent excavations.
This reference is devoted to the pre-Columbian archaeology of the Mesoamerican culture area, one of the six cradles of early civilization. It features in-depth articles on the major cultural areas of ancient Mexico and Central America; coverage of important sites, including the world-renowned discoveries as well as many lesser-known locations; articles on day-to-day life of ancient peoples in these regions; and several bandw regional and site maps and photographs. Entries are arranged alphabetically and cover introductory archaeological facts (flora, fauna, human growth and development, nonorganic resources), chronologies of various periods (Paleoindian, Archaic, Formative, Classic and Postclassic, and Colonial), cultural features, Maya, regional summaries, research methods and resources, ethnohistorical methods and sources, and scholars and research history. Edited by archaeologists Evans and Webster, both of whom are associated with Pennsylvania State University. c. Book News Inc.
For almost eight hundred years (100 BC–AD 650) Nasca artists modeled and painted the plants, animals, birds, and fish of their homeland on Peru’s south coast as well as numerous abstract anthropomorphic creatures whose form and meaning are sometimes incomprehensible today. In this first book-length treatment of Nasca ceramic iconography to appear in English, drawing upon an archive of more than eight thousand Nasca vessels from over 150 public and private collections, Donald Proulx systematically describes the major artistic motifs of this stunning polychrome pottery, interprets the major themes displayed on this pottery, and then uses these descriptions and his stimulating interpretations to analyze Nasca society. After beginning with an overview of Nasca culture and an explanation of the style and chronology of Nasca pottery, Proulx moves to the heart of his book: a detailed classification and description of the entire range of supernatural and secular themes in Nasca iconography along with a fresh and distinctive interpretation of these themes. Linking the pots and their iconography to the archaeologically known Nasca society, he ends with a thorough and accessible examination of this ancient culture viewed through the lens of ceramic iconography. Although these static images can never be fully understood, by animating their themes and meanings Proulx reconstructs the lifeways of this complex society.
This collection of essays—the first major account of surrealism in Latin America that covers both literary and visual production—explores the role the movement played in the construction and recuperation of cultural identities and the ways artists and writers contested, embraced, and adapted surrealist ideas and practices. Surrealism in Latin America provides new Latin American–centric scholarship, not only about surrealism’s impact on the region but also about the region’s impact on surrealism. It reconsiders the relation between art and anthropology, casts new light on the aesthetics of “primitivism,” and makes a strong case for Latin American artists and writers as the inheritors of a movement that effectively went underground after World War II. In so doing, it expands our understanding of important, fascinating figures who are less well known than their counterparts active in Europe and New York. Deriving from a conference held at the Getty Research Institute, the book is rich in new materials drawn from the GRI’s diverse Mexican and South American surrealist collections, which include the archives of Vicente Huidobro, Enrique Gómez-Correa, César Moro, Enrique Lihn, and Emilio Westphalen.
Traces the development of Latin American art from 20,000 BCE to modern times, from the southern tip of Argentina to the Rio Grande.