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Filipino American Visual Culture  

Sarita Echavez See

The visual display of Filipinos in the United States temporally and ideologically coincides with the American military conquest of the Philippines at the end of the 19th century, a brutal and brutally forgotten war that some scholars have described as genocidal according to even the most conservative definitions of genocide. This intimacy between empire and vision in the Philippine case has shaped and sharpened the stakes of studying Filipino American visual culture and its history, aesthetics, and politics. As with other minoritized communities in the United States, Filipino American visual culture is a means and site of lively and often contentious debates about representation, which typically revolve around how to document absence and how to establish presence in America. However, because Filipino Americans historically have a doubled status as minoritized and colonized—Filipinos in the United States were legally categorized as “nationals” during the colonial period even as the Philippines was deemed “foreign in a domestic sense” by the US Supreme Court—the matter of legal and visual representation is particularly complex, distinct from that of other Asian Americans and comparable with that of Native Pacific Islanders and Native Americans. So, while the politics of Asian American representation generally can get mired in debates about the absence or presence of “voice” in literature and the stereotypical or authentic depiction of the “body” in visual culture, Filipino American studies scholars of visual culture have provided valuable, clarifying insights about the relationship between imperial spectacle and history. To wit, the hypervisible representation of the Filipino in American popular cultural forms in the early decades of the 20th century—from the newspaper cartoon to the photograph to the World’s Fair exhibition—ironically enabled the erasure of the extraordinarily violent historical circumstances surrounding the emergence of the Filipino’s visibility. This relationship between spectacle and history or, rather, between visual representation and historical erasure, continues to redound upon a wide range of Filipino American visual cultural forms in the 21st century, from the interior design of turo turo restaurants to multimedia art installations to community-based murals.


The History of the São Paulo Biennales  

Thiago Gil

The first Bienal de São Paulo occurred in 1951 as an event organized by the Museum of Modern Art of São Paulo. At that moment, the principal objectives of the exhibition were to win a place for São Paulo city in the international artistic circuit and present Brazilian modern art to the world. Due to the artistic direction of intellectuals such as Lourival Gomes Machado, Sérgio Milliet, and Mário Pedrosa, the São Paulo Biennales played a central role in the process of the institutionalization of modern art in Brazil, whether through the organization of special exhibitions dedicated to historical vanguards or expanding the museum’s collection through acquisition prizes. Since 1957, the exhibition has occupied the Ciccillo Matarazzo Pavilion, one of the iconic modernist buildings designed by Oscar Niemeyer for Ibirapuera Park. In 1962, the exhibition was separated from the museum, following the creation that year of the Fundação Bienal de São Paulo, a private nonprofit institution, which since then has been responsible for the organization of the Biennales. During the following decades the history of the Biennales has been a constant effort to survive numerous crises, maintaining a contemporary identity for the exhibition through experimentation with different organizational structures. The exhibition followed the model of the Venice Biennale, based on the geopolitical logic of national representation until 2006, when the Fundação Bienal decided to implement the current organizational system in which an appointed general curator is entirely responsible for the choice of artists for the exhibition. The capacity to reinvent itself from time to time, to adapt to changes in artistic practices and the global artistic scene, is what still makes the São Paulo Biennale the oldest and most important contemporary international art exhibition in Latin America.


Historical Approaches to Security/Strategic Studies  

Constantinos Koliopoulos

One can treat the terms “security studies” and “strategic studies” as synonymous and as pertaining to the study of the interaction of policy ends with military and other means under conditions of actual or potential conflict. This definition means that security/strategic studies can be a fairly broad field. Moreover, this broadness applies not only to the subject matter of the field, but to its time span as well. The study of strategy is arguably as old as war itself, and certainly far older than the formal establishment of strategic studies as an academic discipline in the aftermath of World War II. In this vein, one may well regard works like those of Thucydides and Clausewitz as belonging to the broad field of strategic/security studies. Although the study of war and strategy would often go hand in hand with military history, from very early times there have appeared treatises on strategy (actually on “the art of war”) that are clearly distinguished from historical treatises and thus from the very beginning set strategic/security studies on a clearly distinct track. Be that as it may, the historical approach to strategic/security studies has always been and still remains a very powerful analytical tool—provided it is handled with the necessary care. Beginning with Thucydides, and continuing with such luminaries as Vegetius, Clausewitz, Delbrück, and Corbett, the historical approach to strategic/security studies has provided the field with some of its most brilliant treatises. This venerable tradition continued after World War I and until well into the Cold War, including historically minded gems such as those by Fuller and Brodie. However, the advent of nuclear weapons and the consequent preoccupation of strategic/security studies with nuclear strategy led by and large to the loss of the field’s earlier historical bearings. Though never completely shelved, the historical approach was relatively subdued. It began to stage a comeback during the 1970s, aided by scholars like Howard, Luttwak, and Gray and further bolstered by the renewed interest in classical strategic theory. The end of the Cold War found the historical approach in terrific shape. Thus, not only does it once again tap the huge reservoir of ancient history, but it has also harnessed the newly available tools of quantitative research and the academic rigor of the social sciences. Since the end of the Cold War has definitely not brought about the end of history and the obsolescence of historical experience, it seems safe to conclude that the historical approach to strategic/security studies will fully retain its validity well into the 21st century.


Islam in Southeast Asia to c. 1800  

R. Michael Feener

Southeast Asia has been a historical crossroads of major world civilizations for nearly two millennia. Muslim traders were sojourning along the shores of the Indonesian archipelago from at least the 8th century, and by the turn of the 14th century local Muslim communities had taken root, and the region’s first sultanate was established in northern Sumatra. Since then, Muslim communities had been established across many other parts of Southeast Asia, where in the 21st century they comprise demographic majorities in the nation-states of Indonesia, Malaysia, and Brunei and significant minority populations in the Philippines, Vietnam, Cambodia, Thailand, Myanmar, and Singapore. The Islamization of these societies, and their inclusion into an expanding constellation of Muslim societies in the medieval and early modern periods, was facilitated by intensifications of activity along the maritime trading routes linking Southeast Asia to ports on the Red Sea, Persian Gulf, and Swahili Coasts with those of India and China over the medieval and early modern periods. Over the course of this history, the expansion of Islam in the region was not dominantly directed from any single source but rather the result of diverse, interlaced strands of commercial and cultural circulations that connected the region to multiple points in an expanding Muslim world—adopting local traditions to produce diverse and dynamic vernacular forms of Islamic cultural expression.


Digital Resources: Museo de Mujeres Artistas Mexicanas, MUMA  

Gabriela Aceves-Sepulveda

The Museum of Mexican Women Artists (MUMA) is a virtual museum dedicated to the promotion of Mexican women in visual arts from the 20th century onward. It was founded by Mexican feminist activist and artist Lucero González (b. 1947), who envisioned it as a feminist digital network for artists, curators, and critics to build connections with initiatives across the country and in other parts of the world. It is currently run by a council of nine women who collectively come together to plan its yearly activities and to invite others to participate. Since 2008, MUMA has hosted a new exhibition every three months by different female curators and artists working mostly on drawing, painting, performance, photography, video, and sculpture. To date, it has organized more than forty online exhibitions and a number of temporary events including exhibitions, reading groups, and public forums across the country. While it has an exclusive focus on women, one of its objectives is to promote intergenerational encounters to discuss the intersections of art and gender and question the binary construction of sexual difference. MUMA is an important addition to the growing resources on the gendered dimensions of art, feminist art, and art curation in Mexico from the 20th century onward. It offers online galleries showcasing artworks by female artists working in Mexico and contemporary theoretical essays on feminist art and curation, as well as reinterpretations of early 20th-century women’s art. Its bilingual (English and Spanish) website showcases the artistic portfolios of more than 350 artists working in Mexico. Each artist portfolio includes a gallery of artworks, an artist’s statement, and a link to a personal artist website. The exhibition section contains image links to each show. Each exhibition can be viewed in a single window and showcases the works in the exhibition along with a curatorial essay. The program section consists of an archive of all the group’s exhibitions, including theoretical texts and events organized chronologically by year since 2008. The website also has an international news section on relevant art and academic activities, a library section with curatorial texts, book excerpts and theoretical essays, and a list of partner organizations and alliances. MUMA offers an email newsletter to its subscribers with information on current exhibitions and direct links to new artists’ portfolios. It has a search engine that allows the user to explore the website via six different categories which can yield results that cross reference texts, news, links, exhibitions, and artist portfolios. Throughout its more than twenty years of existence, MUMA’s hybrid model as a virtual museum and digital archive with a temporary physical presence—and as a collective organization—has significantly amplified the visibility of women artists in Mexico.


ships, Bronze Age  

Shelley Wachsmann

During the Bronze Age, ships and seafaring capabilities transformed the Mediterranean and Red Seas from insurmountable barriers to highways over which cultures communicated for a variety of reasons. Watercraft were essential to the development of maritime cultures in the Bronze Age. Our knowledge of these vessels derives primarily from contemporaneous iconography, but also from remains of the actual vessels and from texts. Each culture developed ships and boats that best suited their individual needs based on the availability of materials and local traditions.Ships and boats played a pivotal role in the Bronze Age Mediterranean, both on inland waterways and at sea. Virtually everything made or used by humans travelled in some way by watercraft, which allowed cultures to interact over vast distances through exploration, trade, warfare, piracy, and migration. Acquiring copper and tin was of primary importance, and in the late 2nd millennium bce the shape of some ingots, termed “oxhide ingots,” was particularly suited for ship transportation. Militarily, ships could be used as mobile fighting platforms during battles, but more commonly they served for coastal raiding and as naval transports for men and supplies. It is impossible to understand the Mediterranean Bronze Age world without taking into consideration the influence of .


Tourism and Connoisseurship in the Collection Histories of Haitian Art in the United States  

Peter Haffner

The Midwestern United States is home to several major public museum collections of Haitian art. These collections were established within a short period between the late 1960s and early 1970s. Similarities between the contents of these collections and their formations point to particular dynamics of visual-art production in Haiti and cross-cultural interactions in which works of Haitian art were collected abroad. This examination of particular collection histories of two Midwestern U.S. museums, both in Iowa, demonstrates shifting cultural narratives that have contributed to generalized definitions of “Haitian Art.” Considering the dearth of Haitian-American communities in the state and its far-flung geography, the fact that so many works by Haitian artists reside in the Midwest may appear to be a curious occurrence. However, these collections arose from individual bequests from local collectors who began acquiring Haitian art during the second “Golden Age” of Haitian tourism in the 1960s and 1970s. North American travelers who visited Haiti at this time sustained a market for Haiti’s artists and helped maintain international interest in Haitian visual culture. The common characteristics of these two collections—in the cities of Davenport and Waterloo—and the history of their development speak volumes about cultural intersections between Haiti and the United States, especially in relation to the effects of tourism and international travel on the production, circulation, and reception of Haitian art. More broadly, these histories exemplify wide-ranging shifts in North–South relations in the late 20th century. In the United States, Iowa is home to two of the largest public collections of Haitian art in the country, one in Davenport at the Figge Museum of Art and the other about 130 miles away in Waterloo at the Waterloo Center for the Arts. Considering both distance and regional context, the Midwest’s relationship to Haitian art may seem incongruous. Almost 2,000 miles separate Haiti from the region, and the largest enclaves of the Haitian diaspora reside in major urban centers like Miami, New York, Boston, Montreal, and Chicago. Additionally, stereotypes of the region as provincial and culturally unsophisticated accompany the Midwest’s reputation and add to the intrigue surrounding the seemingly uncharacteristic presence of Haitian art in regional museums. In order to better understand such seemingly random cultural linkages between Haiti and Iowa, we must examine the routes and circuits through which art objects in these collections have traveled, the individuals who facilitated such movements, and the distances, both physical and conceptual, between artists’ studios in Haiti and museum context in the American Midwest. For audiences in the United States, the word “Haiti” often accompanies news headlines focusing on one of the country’s many crises: political instability, mass migration, natural disaster, poverty. The focus on Haiti’s many challenges of the past decades obscures the fact that in several key periods in the 20th century the country attracted a steady stream of “First World” visitors. With Haiti only a short plane ride away from the United States, travelers were drawn not only to Haiti’s tropical climate and the many upscale hotel accommodations of the time, but also to the country’s cultural offerings, which included a thriving environment of visual art production. A cottage industry producing paintings, sculptures, and handicrafts greeted tourists, journalists, academics, researchers, and other visitors. Some of these souvenir-ready items could be easily dismissed as cheap, mass-produced “tourist art,” but a great many of them reflected an originality and creative quality that emerged within the supportive context of the “Haitian Renaissance.” Haitian visual arts struck many of these art-buying travelers to such a degree that they would make many return visits to Haiti, amassing enough work that would eventually make up collections of art back in the United States. The cross-cultural interactions of these traveling collectors can be framed through a study of the art objects they collected and their interactions with Haitian artists and arts institutions. Focusing on individual case studies reveals broader trends in the international reception of Haitian art and how collections in Iowa and elsewhere were established. Beginning in Davenport, whose Figge Museum of Art is the earliest established public and permanent collection of Haitian art in the United States, this examination of collection histories will shed light on how global, regional, and individual contexts and circumstances contributed to Haitian art’s presence in Iowa and its reception abroad. In addition, these collection histories highlight connections among collectors, artists, and other active participants in the circulation of Haitian in the period of the late 1960s and early 1970s. The second example considers the origins and development of the Waterloo Center for the Arts’ Haitian collection and demonstrates one institution’s efforts to connect Haitian art objects with local audiences. Both case studies also underscore histories of engagement between the United States and Haiti, as well as issues that museums have grappled with concerning their Haitian art collections and the shifting circumstances of art production in Haiti.


Iconography and Iconology  

Davor Džalto

Iconography and iconology are the ways of describing and interpreting images and their meaning. Although closely related, iconography and iconology can be understood as distinct disciplines. When clearly differentiated, iconography is understood as a method of identifying and describing the themes and motifs (“subject matter”) represented in an image, while iconology is understood as an interpretation of the meaning of images. Especially in the contemporary applications of the method, iconology is often understood as an interdisciplinary enterprise. In its rudimentary form, iconography has been practiced since the earliest recorded attempts to describe images, conveying “what is depicted” in the medium of language. Already in antiquity is the application of the iconographic method understood as a way of relating depicted visual forms with textual sources, aimed at an identification of the subject matter in images. In the Renaissance, attempts at the systematization and codification of the most commonly used motifs in visual arts are found, resulting in manuals that offered a description of the motifs and an explanation of the meaning of particular symbols or entire scenes. The modern period (especially the 19th and 20th centuries) is the time when iconography was fully developed as a method, but this is also the time of a clearer differentiation (both conceptual and terminological) between iconography and iconology. A series of authors, primarily art historians, contributed to this differentiation and to the development of iconology as a discipline that deals with the meaning in and of images and artworks. Among the most prominent ones are Aby Warburg, Erwin Panofsky, and Ernst Gombrich. Iconology, understood as an interdisciplinary approach to the issue of visual phenomena, has successfully been applied in the interpretation of a variety of visual phenomena, from ancient, medieval, and Renaissance artworks to works of contemporary art and visual culture understood more broadly.


Visual Arts: Christian Visual Art  

Christine E. Joynes

Defining Christian visual art from the Renaissance to the present is a task fraught with difficulty. The diversity among Christian groups to emerge makes generalizations impossible, but common themes can be compared and contrasted to shed light on differing beliefs and practices. Widely acclaimed examples of Christian visual art highlight its role in contemplating the divine and offering pedagogical insights. It also functions to critique cultural attitudes and shape identity formation. Despite the decline in religious belief, Christianity continues to inform contemporary works of art in both ecclesial and non-ecclesial settings.


Depictions of the Moon in Western Visual Culture  

Jay M. Pasachoff and Roberta J.M. Olson

Since the landmark lunar landing of Apollo 11 on July 20, 1969, NASA’s Lunar Reconnaissance Orbiter (launched in 2009), and the Japanese Aerospace Exploration Agency’s Kaguya spacecraft (2007–2009), among other efforts, have now mapped the Moon’s surface. Before those technological advances and since the beginning of recorded time, people and civilizations have been entranced by Earth’s only natural satellite, which is the second-brightest celestial object visible in the sky from the surface of the planet. Selected examples, among thousands, show how the history of the Moon has been regarded, illustrated, and mapped in visual culture in the Western world. Early examples include representations of a formulaic crescent Moon in Babylonian times; later this dominant stylized depiction of the Moon gave way to more naturalistic images based on observation, culminating in Leonardo da Vinci’s manuscript drawings, which study the lunar structure and cratered surface, and Galileo Galilei’s first telescopic images of the Moon recorded in wash drawings and woodcuts for his book Sidereus Nuncius. Both the artistic and scientific visual acuity that made this evolution possible belonged to the burgeoning empiricism of the 14th through the 17th centuries, which eventually yielded modern observational astronomy and impacted lunar iconography. The subsequent dramatic mapping of the Moon’s surface and the naming of its features became a preoccupation of many astronomers and some artists, who assisted scientists in illustrating their work. With the seeming physical mapping of the Earth-facing side of the Moon well underway in the late 18th and early 19th centuries, the function of Earth’s satellite as a Romantic symbol gained force in the all the arts but most dramatically in the works of landscape painters in Germany (e.g., Caspar David Friedrich and Carl Gustav Carus) and in England (e.g., Samuel Palmer). At the same time, William Blake, who was obsessed with astronomical imagery, used the Moon for expressive purposes, which reached a fever pitch later in the century in the work of Vincent Van Gogh. Along with the increasing accuracy of the Moon’s portrayal through both artists’ and scientists’ representations, the dramatic history of its mapping from Earth crescendoed with the development of photography and William Cranch Bond’s first successful daguerreotype of the Moon in 1851. Further exploration of the Moon, including its far side, has gravitated to aerospace engineers in cooperation with physicists, astronomers, mathematicians, and Apollo astronauts. Nevertheless, the Moon has remained an enduring object of fascination for artists—among the many, Surrealist Joan Miró, Veja Celmins, and Andy Warhol.


Museums and the Educational Mission from the Progressive Era to World War II  

Jessie Swigger

In May 1906, museum workers from across the country gathered in New York City at the American Museum of Natural History for the first annual meeting of the American Association of Museums (AAM). Over the course of two days, AAM members elected officers, ratified a constitution, and shared ideas about how best to collect, store, and display objects and specimens. The meeting culminated with a resolution to create a formal partnership with the National Education Association (NEA). AAM members’ interest in linking their work with the NEA signified that by the early 20th century, most museum leaders agreed that educating the public was a priority. This commitment to education shaped exhibition and collecting practices and the services that museums provided and expanded the power of museum visitors and audiences. While administrators, curators, and exhibit preparers often agreed on the collective goal of educating the public, their approaches varied. How museum education was defined and assessed depended on the type of museum in which one was employed, and it changed over time in response to broader social, cultural, and political forces. By 1945, however, museums of all types had formalized and institutionalized their practices in ways that placed education at the core of their purpose and actions.


Instituto Nacional de Bellas Artes y Literatura  

Liliana Toledo Guzmán

The Instituto Nacional de Bellas Artes (INBA; National Institute of Fine Arts) was created to replace and broaden the functions of the Departamento de Bellas Artes (DBA; Department of Fine Arts), which was created in 1921 as a branch of the Ministry of Public Education in the context of a Mexico already in upheaval due to the revolutionary armed conflict. The decades leading up to the creation of the INBA were characterized by a constant discussion of how nationalism should be expressed in art. The answer was often associated with rural life and its artistic manifestations; thus research on these expressions became the center not only of the discourse, but of many artistic projects launched by the Mexican government. These expressions were brought to many arenas in public education, from creation to distribution, so that over the course of three decades they were articulated in an organized fashion as much in the rural education project of Jose Vasconcelos as in that of Moisés Sáez, and later, in the socialist education framework of Lázaro Cárdenas. In the 1940s, the INBA inherited not only the art collections of the DBA but also its role. The promotion of nationalist art would take on new proportions, intending to reach the entire territory. The cultural bureaucracy began to gain strength with figures such as Carlos Chávez, the first director of the INBA. Nevertheless, Mexico was a different country than it had been in the 1920s. During the government of Miguel Alemán, art was strongly associated with tourism and economic dependence on the United States worsened, to some degree affecting artistic expression. Integrationist education, the creation of the Mexican collective imagination in the 1920s, and contradictions clearly seen through social inequality compared to the mythical indigenous world—all these were factors that led to an aesthetic rupture that would seem imminent, just as development, education, and research hoped to become institutionalized through the INBA.


Contemporary Art in Brazil, 1960s and 1970s: Forging the “New”  

Elena Shtromberg

The history of exhibitions in Brazil during the 1960s and 1970s provides a key reference point for understanding how artistic vanguards and contemporary art unfolded in direct relationship to social and political contexts. The seminal exhibitions during these pivotal decades elucidate how the contemporary in Brazilian art stages and reframes conceptions of the “new” vis-à-vis the art object. The exhibitions in question trace the development of Ferreira Gullar’s não-objeto (non-object, 1959) and its path toward the idea-based artwork, an impulse that was prevalent throughout the 1960s in the United States and Europe as well. Inaugurated by the emergence of Brasília, Brazil’s new capital city in the formerly barren hinterlands of the state of Goiás, the 1960s witnessed a new model of artistic practice that pushed the boundaries between art and life, actively seeking out the participation of the viewer. This is most evidenced in the canonical work of artists Hélio Oiticica and Lygia Clark. By the 1970s, challenges to the utopian undertakings from the previous decades had become imbricated with political activism, as artists and intellectuals alike pronounced a commitment to the quest for democracy after the military coup of 1964. The 1970s also witnessed heightened artistic engagement with new information and communication technologies, including the use of video equipment and computers. Constructing the history of Brazil’s contemporary art via the most important moments of its display will not only historically and politically contextualize some of the groundbreaking artists and artworks of these two decades, but also introduce readers to the challenges that these artworks posed to the more traditional methods of institutional display and the criteria used to interpret them.


Digital Resources: FAMSI.org and the Beginnings of Digital Scholarship for the Ancient Americas  

Victoria Lyall

Launched in 1997, FAMSI.org established itself as the leading digital platform for the promotion and dissemination of Mesoamerican scholarship to the widest possible audience. The online arm of the Foundation for the Advancement of Mesoamerican Studies, Inc., a nonprofit pledged to foster increased understanding of ancient Mesoamerican cultures, FAMSI.org crosscut disciplinary divisions and facilitated communication between scholars in the United States and those in Latin America. The eight-member Board of Directors and its advisory committee ensured that the foundation would harness the spirit of generosity and creativity that characterized the early days of the Internet for the benefit of a likewise emergent discipline. As the Website developed, FAMSI sought partnerships with and contributions from institutions around the world in order to make educational resources publicly available. The Website hosts a remarkable amount of primary research material, including image databases, contemporary and historical indigenous-language dictionaries, ethnographic videos, maps, and an up-to-date, searchable subject-specific bibliography, all of which are available in both English and Spanish and accessible at no cost to visitors. Between 1997 and 2006, the Website grew exponentially, but like many of its early counterparts, the site’s utility and navigability ultimately suffered as a result of the rapid development of new software and the obsolescence of existing digital platforms; searches became sluggish and unwieldy. While visitorship remained high for an academic site—over a million unique visitors a year—a 2012 survey indicated that scholars frequented only known parts of the site while novice users spent as little as a few minutes on the site. The global economic crisis of 2008 destabilized FAMSI’s funding, and in 2010 the Los Angeles County Museum of Art (LACMA) assumed stewardship of the foundation as well as the Website. The museum began to maintain and review FAMSI.org, ultimately deciding to update and transform the Website into a new platform, AncientAmericas.org, which broadens the scope beyond that of Mesoamerica. FAMSI, with its dedication to research and online collaboration, became the principal resource for the research of ancient American cultures for both a scholarly and general audience beginning in the mid-1990s. Its enduring legacy is the spirit of interdisciplinary and international cooperation and generosity that it fostered.


Buddhist Art and Architecture in Tibet  

Erberto Lo Bue

Tibetan Buddhists view images primarily as religious supports and secondarily as works of art. Buddhist images are aimed at improving one’s karma by earning merit in view of future existences, at removing obstacles, and at creating wellbeing. Their commissioning may be occasioned by various circumstances, including illness and death, besides the need for a specific religious practice. Since they are primarily expressions of faith, their age has a limited importance and their originality hardly any: a religious image is valued less for its rarity and aesthetic value than for its apotropaic virtues and for its particular connection with a holy place or master. Hence the application of Western post-Medieval aesthetic criteria to the appreciation of Tibetan art ought to be complemented by an appreciation of the specific religious meaning of an image, the interpretation of its particular symbolism, and the aim of its client within the specific cultural and historical context in which it was produced. This article is preceded by a historical introduction sketching the development of Buddhist art and architecture in Tibet from the 7th to the present century, mentioning the role played by foreign artists, mostly Newars from the Nepal Valley, and dwelling on particularly significant monuments, such as the monastery of Sàmye (8th century) and the Great Stupa of Gyantsé (15th century), representing the two highest moments in the history of Tibetan religious art and architecture, the Pòtala being basically a fortified palace. The first section, on Tibetan Buddhist art, deals with iconography and iconometry as well as materials and techniques, contrasting the prevalent approach to the subject by collectors, and even art historians, with that of Buddhist masters and devotees, pointing out the importance of the consecration of images, without which the latter remain worthless from a religious point of view. The second section, on Tibetan Buddhist architecture, deals with the construction of religious buildings, their materials, their religious functions and their symbolism. Although stupas are referred to throughout the article, they are dealt especially in this section. Sanskrit terms, whether in phonetic transcription or in transliteration, prevail in the first section because the relevant terminology is largely the Tibetan translation of Indian Buddhist terms, Tibetan terms in phonetic transcription and transliteration prevail in the second section, except in the part dealing with the stupa.


Cultural Institutions of the Brazilian Empire  

Lilia Katri Moritz Schwarcz

This article provides a larger panorama of the cultural politics of the Brazilian Empire during the 19th century and following the long Second Reign of Pedro II. The central figure of the emperor—as a kind of animator of cultural, scientific, and artistic life—and the conservative profile of the national movement are key issues. The article analyzes the development of the main professional schools of the country, which taught medicine (in Rio de Janeiro and Salvador) and law (in São Paulo and Recife), and also tells the story of the Historical and Geographical Institute and the origins of the museums of art in Rio de Janeiro, the former capital of the court, and scientific museums in Rio de Janeiro, São Paulo, and Belém.


History and Microhistories of Social Education in Spain  

Victoria Pérez de Guzmán, Juan Trujillo-Herrera, and Encarna Bas Pena

Social education in Spain has become increasingly popular in recent decades as both a socio-educational action/intervention and as a profession. The history of social education is a combination of various microhistories that have evolved within different areas. In order to understand the “micro” component of these histories, we need a perspective of the “macro,” while also keeping in mind that the microhistories are essential to understanding the true development of social education on a general level. The goals of this research are: to approximate the key historical antecedents that have influenced the development of social education in Spain as both a socio-educational action/intervention and a profession, to demonstrate the importance of analyzing the history of social education through microhistories, and to indicate the key elements and criteria necessary to carry out our microhistory of social education. Our methodology is the state of the field documentary research modality, which facilitated our study of the collective knowledge addressing a pedagogy of social education. This qualitative-documentary and critical-interpretive methodology followed these steps: contextualization, classification, and categorization. The main conclusion will indicate the definition of key points as well as the criteria necessary to be able to carry out a microhistory of social education.


Nelson Rockefeller in Latin America  

Darlene Rivas

Nelson Rockefeller (1908–1979), known for his political career in the United States, built his public reputation upon experiences in Latin America and impacted US relations with the region. His initial interest grew through art collecting and business investments in the 1930s. He developed a conviction that US policy should foster collaborative efforts to promote economic development, in large measure to combat economic nationalism but also for humanitarian purposes and to encourage democracy. During World War II, he led the Office of the Coordinator of Inter-American Affairs (OCIAA), which combated Axis influence, developed cultural and propaganda programs, and launched the first long-term US foreign aid programs of technical assistance through the Institute of Inter-American Affairs. As assistant secretary of state for Latin American affairs (1944–1945), he cultivated Latin American aspirations to maintain US interest in the region characterized by the Good Neighbor Policy, through renewed commitment to collaboration and nonintervention, continued US support for economic and social development, and protection of regional organization within the larger United Nations. After the war, Rockefeller promoted a reformed capitalism he envisioned would involve collaboration among government and private groups in the United States and Latin America. Starting in Venezuela and Brazil, he created a nonprofit entity, the American International Association for Economic and Social Development (AIA), that partnered with Latin American governments, especially in public health and agriculture, and a for-profit business, the International Basic Economy Corporation (IBEC), which fostered joint investments. In 1950, he headed the International Development Advisory Board to advise the Truman administration on the Point Four program, established to foster US technical assistance toward developing nations. Rockefeller advocated for continued focus on economic development abroad, even as the Korean War intensified the defensive nature and military requirements of US Cold War policy. He promoted partnerships with private capital investment and increased public loans that prioritized developing nations’ concerns. The scope he suggested was not adopted in the region, but models for technical assistance he had pioneered in Latin America spread globally. He leveraged his experiences in the region to promote a political career, serving as governor of New York (1959–1973) and vice president of the United States (1974–1977), and he attempted to win the presidency several times. In 1969, he led a series of Latin American tours for President Richard Nixon that were met with violence and harsh criticism of the United States. His economic prescriptions changed little, yet alarm over potential radical change led Rockefeller controversially to suggest friendly relations with authoritarian military governments. His impact on US Latin American policy waxed and waned, yet Rockefeller’s endeavors expanded cultural relations, increased collaboration, prioritized economic development, and valued pre-Columbian and Latin American artistic expression.