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Anales del Instituto de Investigaciones Estéticas
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ISSN: 0185-1276 ISSN electrónico: 1870-3062
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Instituto de Investigaciones Estéticas
México



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JEFFREY M. BANISTER
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STACIE G. WIDDIFIELD
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en: The central point of this study questions the modalities of seeing presented by Otto Neurath in his posthumous text Autobiografía visual. The analysis concentrates on three matters set forth in the Autobiografía: the experiences of seeing, visual education and the democratization of knowledge. The conceptual distinctions between “the visible” and “the visual,” “position-taking” and “taking sides”, proposed by Didi-Huberman, are important references to approach such themes, since they enable us to reveal the tensions in the act of seeing that the Autobiografía presents. The article concludes with an introductory reflection on the ways in which architecture continues to activate some of Neurath’s most problematic theses, namely, the relationship he establishes between its graphic language and the strengthening of democratic societies, and last considers Farocki’s video-installation Deep Play as a counter-position to reconsider the difference between “taking position” and “taking sides”.>>>
VALERIA GUZMÁN VERRI
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en: This article sets out to initiate debate concerning certain artistic manifestations found in church architecture located in Nothern New Spain, in which survivals of the Mudéjar decorative tradition can be appreciated in the form of incised graffito and raised decorative pointing, which portray an economy of execution that is characteristic to Spains rural zones. The analysis centers on both the type of graffito figure known as lágrima (tear) or gota (drop) and on the figurative forms that decorate the walls of the corpus analyzed here, so as to show the survival of elements which evidence Mudéjar influence in Spanish America and to show how these survivals acquired a language and symbolism of their own.>>>
JOSÉ ARMANDO HERNÁNDEZ SOUBERVIELLE
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en: Maruja Bardasano (Madrid, 1935) is one of the most brilliant and versatile artists among the Spanish republican community in exile in México following the end of the Civil War in 1939. Daughter of the painters José Bardasano and Juana Francisca Rubio, with whom she arrived on board the Sinaia, Maruja was trained in both fine arts and classical ballet. In the early fifties she was a member of Sergio Unger’s Ballet Concierto, among other companies, and came to be its first soloist; she was also from time to time responsible for its scenic design. Simultaneously, she developed as a brilliant painter who exhibited in the Círculo de Bellas Artes in Mexico City. In 1956 she returned to Spain, where she devoted herself entirely to painting, an activity with which she is still engaged. This article analyzes her most outstanding contributions, emphasing her facet as a ballet dancer during her Mexican exile.>>>
IDOIA MURGA CASTRO
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en: This study aims to analyze one of the few attempts at training American professionals in Spanish academies during the Colonial period. Despite the existence of the Academia de San Carlos in Mexico City, the crown’s centralized power that projects required to be carried out on American territory be approved by the Royal academy of San Fernando in Madrid before authorizing their construction. The role of the Mexican Francisco de Paula de la Vega y Pérez, who graduated in architecture in Madrid, is thus unique in the context of artistic relations between Spain and its colonies. The final project he presented for a Viceroy’s palace in Mexico makes reference to eighteenth-century models of royal palaces. At the time of the French invasion he was working in Ciudad Rodrigo and chose to remain in Spain.>>>
RAMÓN GUTIÉRREZ
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en: In the second half of the seventeenth century an indigenous woman donated a sculpture of Jesus of Nazareth to the church of the Hospital of the Conception of Our Lady in Mexico City. Within a few years the ensuing cult had reached such proportions that the hospital’s name was changed to “Hospital of Jesus”, by which it is still known. As the cult of the Nazarene grew, so did the phenomenon of “copies”, in which an effigy, on account of the respect and devotion it has acquired, became a “model” to be followed. The purpose of this article is to draw attention to a New Hispanic painting conserved in the St. Charles Borromeo Seminary, at Wynnewood, Pennsylvania, and to explain why it is believed that this is a likeness taken from this sculptural object of devotion.>>>
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en: The image of the Virgin of Guadalupe conforms to a German-Flemish iconographic model dating from the Middle Ages representing a Virgin crowned, surrounded by a luminous mandorla and standing upon a half-moon. Several engravings corresponding to this model (from between 1400 and 1530) present formal similarities to this image. One of them, the Virgin in Glory, dated around 1420, bears a notable resemblance to the Guadalupana in the outlines, body posture, proportions, facial features and vestments, so that it may have been the source used by the indigenous painter who executed the work. The variations between both images are probably due to the adaptation required by the image’s, sender and recpient.>>>
GISELA VON WOBESER
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TERESA DEL CONDE
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Jazmín Rincón
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