Timeline of the Americas, 1 BCE - 2013 CE

Advanced understanding of math, time, astronomy, written language. Sophisticated building structures. Population of 1 million. Human sacrifice.

http://www.metmuseum.org/toah/images/hb/hb_1999.484.2.jpg
"A palace court scene is depicted on the exterior of this cylindrical vessel" and Mayan art "include(s) representations of the ancient peoples, their costumes, architecture, and activities." Indicative of recorded history, hierarchy, judicial system, organized society.

First ancient Mesoamerican civilization located in modern-day Mexico, theorized to be the "mother culture" from which other cultures in the area developed. Sophisticated building structures and cities; trade; artwork, including giant stone heads; agricultural society based on maize, beans, and squash.

http://www.lacma.org/sites/default/files/styles/Exhibition_Main/public/image/Olmec6_0.jpg

North-east of modern-day Mexico City. 25,000+ inhabitants, whose ethnic origins are uncertain. Large pyramidal structures. Geometric, religious. More than 22 square miles large.

http://whc.unesco.org/uploads/thumbs/site_0414_0004-500-375-20080528120257.jpg

"Toltec Tula, a new settlement c. 70 km north-west of Teotihuacán, was established on a ridge overlooking the juncture of the Tula and Rosas rivers. It grew slowly at first, but by c. AD 950 covered c. 5 sq. km and contained between 15,000 and 20,000 people. Explosive growth during the principal period of occupation, the Tollan phase (c. AD 950–c. 1200), created one of Mesoamerica’s largest cities, with an estimated 35,000 to 40,000 inhabitants. Toltec culture disintegrated shortly after 1150. Crop failures and famines in the arid land, internal conflicts and pressures from northern immigrants in search of new lands all contributed to Tula’s downfall."

http://www.oxfordartonline.com/subscriber/fig//img/grove/art/F016721.full.jpg

Evidence suggests that an internal uprising against the elites may have sparked the downfall of the city: only the elites' homes were burned.

Likely descendants of tribes from modern-day southern US/northern Mexico.

http://www.loc.gov/exhibits/kislak/images/kc0007_2s.jpg
17th cent. Writing, depiction of people (pres. natives) as friendly. Writing.

30 km south-east of Mérida in Yucatán, Mexico. Mayan influence. Contained some 3500 structures within 4 sq. km, about 100 of which were large masonry temples or ceremonial structures. An estimated population of 11,000–12,000. Decline due to infighting.

http://lcweb2.loc.gov/service/pnp/cph/3b30000/3b38000/3b38900/3b38917r.jpg
"The Pride of Columbus", 1866

"Art production consists predominantly of religious works commissioned for convents and churches."

http://www.loc.gov/exhibits/kislak/images/kc0026_1s.jpg
Mexico, 1650, artists unknown. "The painting displayed, the third in the series, depicts Hernando Cortés (1485-1547) meeting the Mexica emperor Montezuma (1480?-1520). The landscape and treatment of indigenous dress serve to romanticize the meeting of these two powerful leaders. Cortés approaches Montezuma with his arms opened in a gesture of embrace, which the Mexica leader respectfully rejects by raising his left hand. Montezuma's idealized body, dignified stance, full beard, and the golden sword in his right hand owe more to European ideas about the appropriate bearing of a king than to ethnographic accuracy. Furthermore, while the feather skirts shown on Montezuma and his court were part of the standard European iconography for depicting "Indians," skirts like this are not known to have been worn anywhere in the Americas."

(Bartholomé de las Casas book)

http://www.loc.gov/exhibits/1492/images/hcodex1a.jpg
1531. Note Madonna and Child.

http://www.metmuseum.org/toah/images/hb/hb_88.3.1.jpg
16th century Mexican. European + native art forms: hummingbird feathers and native gold with Christian motif.

Guatemala, El Salvador, Honduras, Nicaragua, and Costa Rica.

http://metmuseum.org/toah/images/h2/h2_1995.427.jpg
Standing Figure, 1st century b.c.–1st century a.d.

http://www.sfu.museum/cco_images/artifacts/Medium/df_artifacts/x2006.003.230%20%285%29.jpg

-Figures made of adobe clay
-By the characteristics of signified by the genitals, the two figures on top are male and the bottom figure is female.
-The female has wide-set hips for child-bearing, but features small arms that blind. These features indicate that the woman is impaired and helpless.
-These figures establish the clear gender roles perceived in the Malagana cultures.
http://i5.photobucket.com/albums/y193/Krncoketastesour/20130226150642.jpg

http://i5.photobucket.com/albums/y193/Krncoketastesour/nla.jpg

http://i5.photobucket.com/albums/y193/Krncoketastesour/TOLIMA4X4.jpg

http://i5.photobucket.com/albums/y193/Krncoketastesour/jamacoaquecangrejo_0.jpg

http://metmuseum.org/toah/images/h2/h2_1980.34.38a.jpg

http://metmuseum.org/toah/images/hb/hb_1991.419.40.jpg
http://metmuseum.org/toah/images/hb/hb_66.196.20.jpg

http://www.banrepcultural.org/sites/default/files/imagecache/imagen-galeria-imagenes/O0001509_0.jpg

http://www.banrepcultural.org/sites/default/files/imagecache/imagen-galeria-imagenes/O17191C.JPG

http://i5.photobucket.com/albums/y193/Krncoketastesour/46be019c-f648-4801-aa67-94b1a1d844d9.jpg
https://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Zonnepoort_tiwanaku.jpg/800px-Zonnepoort_tiwanaku.jpg
http://www.metmuseum.org/toah/images/h2/h2_1979.206.833.jpg
http://www.atlantisbolivia.org/tiwanakucubits_files/tiwanakumapa.jpg

• Wari Tunic -Tunics were expressions of ethnic affiliation, social status, and religious beliefs. This one woven with bold colors, features a reptile like creatures, head to head with one another. http://www.metmuseum.org/toah/images/hb/hb_29.146.23.jpg

-Mirror frame made of wood (9th-12th century)
-Carving style is influenced by Southern Wari cultures which indicates trade and communication have sustained between the many cultures
-Human like figure is standing on a raft with a war club in hand
-Boat theme in Chimu Art was prevalent which shows that maritime activity was prominent and depended on.
http://www.metmuseum.org/toah/images/h2/h2_1995.428.jpg
-Pair of Earflares worn by the elite (12th-15th century)
-The central image is of a distinguished Chimú lord wearing an enormous fanned-out headdress and big circular ear flares.
-Highly Stratified labor force/ society
-Warrior elite with the
http://www.metmuseum.org/toah/images/h2/h2_1991.419.67,.68.jpg

https://www.peruadventurestours.com/Images/inca_empire_map.jpg
-Emperor Pachacutic
http://img.kb.dk/ha/manus/POMA/poma550/POMA0108.jpg
http://hitchcock.itc.virginia.edu/SlaveTrade/collection/large/Guaman99.JPG
http://www.destination360.com/south-america/peru/images/s/inca-culture.jpg

http://i5.photobucket.com/albums/y193/Krncoketastesour/Machu_Picchu-lge-ariel.jpg
http://avw4yk.files.wordpress.com/2011/12/inca-fountain.jpg?w=529 http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=pEwOx0bo4cQMpM&tbnid=rf2GorHfBuGdYM:&ved=&url=http%3A%2F%2Farmchairtravelingwithnikki.blogspot.com%2F2011%2F06%2Fperus-machu-picchu.html&ei=HJlkUb6KIoLe0gHMk4HYBw&bvm=bv.44990110,d.dmQ&psig=AFQjCNFasUJbW5eXSlHBFK9IUZFV61d1UA&ust=1365633673682999

http://i5.photobucket.com/albums/y193/Krncoketastesour/santamarta.png

http://upload.wikimedia.org/wikipedia/commons/1/19/Francisco_Pizarro.jpeg
http://media-2.web.britannica.com/eb-media//33/93333-050-838BE068.jpg

"Pizarro Seizing the Inca of Peru" John Everett Millais, 1846
-John Everett Millais was an English painter from the Romantic Era.
-A piece completed 300 years, romantically depicts Pizarro seizing the Incan Emperor, Atahualpa

-Pizarro is glorified as a savior, justified by divine right of Christianity signified by the cross held by a priest behind him.
http://uploads5.wikipaintings.org/images/john-everett-millais/pizarro-seizing-the-inca-of-peru.jpg
-The Seizure of Atahualpa at Cajamarca
- Published between 1760 and 1810
http://upload.wikimedia.org/wikipedia/commons/thumb/1/13/Atahualpa_seizure.jpg/437px-Atahualpa_seizure.jpg
- Both depictions are produced by European artists 200 to 300 years after the event.
- These European artists clearly have positive sentiments which justify the Seizure of Atahualpa. The painting rarely show any bloodshed, only seizure and subordination.

http://i5.photobucket.com/albums/y193/Krncoketastesour/3fd964cb-3158-483c-a695-50382d950a54.jpg

-Cuzco school was a group of European and indigenous painters active in Cuzco, Peru, from the 16th through the 18th century.
- Juan Iñigo de Loyola, one of the first members and Spanish painters who arrived in 1545, trained indigenous artists in the style of Spanish
http://cdn2.brooklynmuseum.org/images/opencollection/objects/size3/48.206.88_SL1.jpg?lightboxed=1
http://venetianred.files.wordpress.com/2009/12/virgincandlemas.jpg

(Lands comprising modern Argentina, Uruguay, Paraguay, and Bolivia separated from Viceroyalty of Peru)
-Painted by Incan native who adapted European portrait style techniques.
-However paintings such as these were merely illustrations that were imagined in the minds of the Incans. They did not serve the purpose of documentation.
-They were revered by the remaining Incan royalty.
-Dominated by European painting technique, signifies the compromise and loss of Incan culture
http://cdn2.brooklynmuseum.org/images/opencollection/objects/size2/1995.29.14.bt_SL1.jpg
-Woman's shoulder mantle, Peru, 16th - 17th century. Cotton, silk, metallic yarns.
-Made of Cumbi, a type of cloth that was highly valued, woven by specialists, and used for the garments of the king.
-Symbolic of intercontinental trade, made of : Spanish silver threads with the Chinese silk (only available through trade from Philippines to Lima)
http://d1eujzb03uflva.cloudfront.net/object-of-the-day/2012/12/10/page_image_full/mantle.jpg
Monstrance, 1646
-Material: Silver gilt, enamel
-The inscription indicates that this monstrance was made for Pedro de Urraca, a Spanish-born Mercedarian friar who spent most of his life in Ecuador and Peru, where he was revered for the holiness of his ministry.
http://www.metmuseum.org/toah/images/h2/h2_32.100.231a,b.jpg
-Frieze Fragment (18th century)
-Bolivian
-Silver
http://www.metmuseum.org/toah/images/h2/h2_1978.303.7.jpg

Lands comprising modern Ecuador, Colombia, Panama, and Venezuela
-Calvary Scene (18th Century)
-Although carved in a larger scale, this Crucifixion scene features figures whose garments display the same style of polychromy as the smaller Nativity scenes nearby. The broad swaths of background color derive their glow from the layer of silver leaf underlying the colored glazes, evidence of a technique called achinado. The carving of the figures' heads and faces closely resembles the work of the best known Quiteño sculptor, the mestizo Manuel Chil, called Caspicara.

http://www.metmuseum.org/toah/images/h2/h2_64.164.230-.233.jpg

-Commercial and industrial development exacerbates class division.
-Upper-class Latin Americans receive Arts education abroad in Italy and France.
-Influence from impressionist styles of art from France are evident in Argentinian art

-The period between 1810 and 1816 in the New Kingdom of Granada (today Colombia) was marked by such intense conflicts over the nature of the new government or governments that it became known as la Patria Boba (the Foolish Fatherland)
-Sovereignty from Spain
-Diminishing power of the Catholic Church
-Reign of terror
http://upload.wikimedia.org/wikipedia/commons/thumb/9/95/Flag_of_New_Granada_%281811-1814%29.svg/220px-Flag_of_New_Granada_%281811-1814%29.svg.png
Flag of Cartagena and Barranquilla
http://upload.wikimedia.org/wikipedia/commons/thumb/3/34/Flag_of_New_Granada_%281814-1816%29.svg/220px-Flag_of_New_Granada_%281814-1816%29.svg.png
Flag of the United Provinces

-Being With 1946
-Surreal Art
-Matta received arts education in Paris and worked for the modernist architect Le Corbusier
http://www.metmuseum.org/toah/images/h2/h2_2003.270.jpg

Panorama of Machu Picchu 1930s
-Martín Chambi (Peruvian Artist)
http://www.metmuseum.org/toah/images/h2/h2_2003.31.jpg

-Dancers of Colombia 1980
-Fernando Botero (Colombian Artist)
-Studied art in Florence, Italy
-Inspired by Goya and Picasso
http://www.metmuseum.org/toah/images/h2/h2_1983.251.jpg