Conference | Shifting Tides: Art in the 18th-Century Caribbean

Posted in conferences (to attend) by Editor on March 21, 2023

A New & Correct Map of the Trading Part of the West Indies: Including the Seat of War between Gr. Britain and Spain: Likewise the British Empire in America, with the French and Spanish Settlements adjacent Thereto: Adorn’d with Prospects of ye Most considerable Towns, Ports, Harbours &c. therein Contained from the Latest & Best Observations (London: Printed for and sold by Henry Overton, at the White Horse without Newgate, 1741), “Dedicated to the Honble. Edward Vernon Esqr., Vice Admiral of the Blue and Commander in chief of all his Majs. ships in the West Indies, by H.O.”

◊   ◊   ◊   ◊   ◊

From Winterthur:

Shifting Tides: Art in the 18th-Century Caribbean
Online and in-person, Winterthur Museum, Garden & Library, Wilmington, Delaware, 20–21 April 2023

Join leading and emerging scholars, museum professionals, and community partners as we rethink narratives surrounding colonial art in the Caribbean region. Shifting Tides: Art in the 18th-Century Caribbean aims to reimagine the relationship between American historical collections in public institutions and the communities they serve. The conference is made up of an in-person symposium followed by a virtual study day, with livestreamed roundtable discussion and an examination of paintings in the Winterthur collection. The conference is free, with a box lunch available for purchase. Register here»

Shifting Tides centers the Caribbean region to explore new pathways in the history of eighteenth-century art. Histories of colonial and viceregal American art tend to privilege art produced in continental spaces as they came to be organized as nation states, overlooking the interrelatedness of early Caribbean and continental colonies, and the significance of the Caribbean region.

The Caribbean basin, spanning the coastal areas as well as the islands which lie in the Caribbean Sea, was a central space for the making and circulation of European wealth. It was a space of competition between empires; a space of resistance against imperial exploitation; a space of porous boundaries that facilitated inter-imperial crossings and exchanges between creators and their patrons. This interconnectedness had a profound impact on artistic creation in the early Americas. Artists like José Campeche, Peter Bentzon, John Greenwood, Josef Francisco Xavier de Salazar y Mendoza, Antonio José and Juan José Landaeta, and Agostino Brunias, worked outside and across borders; between social classes and races; and beyond sovereignties which historical narratives have organized for the eighteenth century. Abundant evidence also shows that John Singleton Copley, Luis Paret y Alcázar, and Benjamin West’s careers were profoundly impacted by their patrons’ connections to the Caribbean.

Shifting Tides brings together scholars, conservators, community partners, artists, and curators to discuss cutting edge scholarship and initiatives that explore the significance of the art created in and in relation to the Caribbean. We will explore new understandings of art making between American spaces, and reflect on their impact on how institutions frame colonial art in the Americas.

T H U R S D A Y ,  2 0  A P R I L  2 0 2 3

8.00  Registration and coffee

8.30  Welcome
• Chris Strand, Charles F. Montgomery Director and CEO, Winterthur
• Alexandra Deutsch, John L. and Marjorie P. McGraw Director of Collections, Winterthur

8.40  Panel 1 | Sources and Perspectives: Rethinking the 18th-Century Caribbean
Scholars will introduce new perspectives on comparative colonialism in the Americas, on the Caribbean, and the Atlantic world and their role in renewing our understanding of the Americas in the eighteenth century. The panel will also reflect on the ways the field of United States American and Latin American art history have engaged with this recent historiography.
• José Luis Lazarte Luna (The Metropolitan Museum of Art)
• Christelle Lozère (Université des Antilles)
• Pedro Luengo (Universidad de Sevilla)
• Eveline Sint Nicolaas (Rijksmuseum)

11.00  Panel 2 | Centering the Caribbean
Panelists will present new sources that are currently employed by art historians, scholars of material culture, and conservators in their research on eighteenth-century art and material culture. The speakers will discuss how their sources have been key to the emergence of new ways of seeing the nature of artmaking in American colonies, the mobility of creators, the role of enslaved individuals, knowledge transfer, and mixed-race artists and artisans.
• Emily Casey (University of Kansas)
• Janeth Rodríguez Nóbrega (Universidad Central de Venezuela)
• Sophie White (University of Notre Dame)

12.30  Lunch

1.30  Panel 3 | Beyond Boundaries: Artists and Creators
This panel will focus on individual-centered narratives emerging from research on creators, as well as curatorial practice. The speakers will talk about their projects and discuss how such individual-centered approaches present models for shifting our approach to what American art as a field of study should encompass.
• Alexis Callender (Smith College)
• Iraida Rodríguez-Negrón (Museo de Arte de Ponce)
• Marc Vermeulen (National Archives, UK)
• Michael Wilson (Temple University)

3.45  Panel 4 | Color and Artistic Creation
This panel will center questions of race and colorism in Caribbean art. Speakers will discuss research and projects that address the various roles that enslaved people and free people of African and Indigenous descent played in artmaking in the Caribbean, as well as their relationships with artistic practices in continental colonies.
• Mark Aronson (Yale University)
• Jorge Rivas Pérez (Denver Art Museum)
• Lucia Noor Melita (Victoria and Albert Museum)

F R I D A Y ,  2 1  A P R I L  2 0 2 3

9.00  Study Session
Physical examination and discussion of colonial paintings in the Winterthur collection, highlighting their Caribbean connections. The selected group of paintings include those by John Greenwood, Benjamin West, William Williams, John Smibert, John Wollaston, and Robert Feke.
• Stephanie Delamaire (Carnegie Museum of Art)
• Matthew Cushman (Winterthur Museum, Garden & Library)
• Mina Porell (The Barnes Foundation)
* Due to space constraints, the Study Day will be filmed and available online only; registrants will receive further information with a link to the recording.

12.00  Lunch Break

2.00  Livestream Roundtable | Research, Methodologies, and Institutional Initiatives
Concluding the conference, this online roundtable will bring together scholars, museum and historic site administrators, and community partners who have contributed to initiatives that are creating spaces for Caribbean art in their institutions and communities. They will discuss new trends and opportunities for an expanded view of the significance of eighteenth-century Caribbean art in various regional and national institutions.
• Rocío Aranda-Alvarado (Ford Foundation)
• Rafael Damast (Taller Puertorriqueño)
• Wim Klooster (Clark University)
• Louis Nelson (University of Virginia)

Speaker biographies are available here»

Exhibition | American Art from the Spanish Empire

Posted in exhibitions by Editor on March 21, 2023

From the press release for the exhibition:

From the Andes to the Caribbean: American Art from the Spanish Empire
Harvard Art Museums, Cambridge, 3 March — 30 July 2023

Organized by Horace Ballard

Artist active in the Viceroyalty of Peru, after Diego de Ocaña (1585–1608), Our Lady of Guadalupe at Extremadura, 1730–80, oil on canvas (Carl & Marilynn Thoma Collection, TL42430.6; photo by Jamie Stukenberg).

This spring, the Harvard Art Museums invite visitors to discover a more expanded story of American art through an unparalleled collection of Spanish colonial paintings. From the Andes to the Caribbean: American Art from the Spanish Empire presents 26 works from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of 17th- to 19th-century paintings from South America and the Caribbean—together with works from the Harvard Art Museums and other Harvard University collections. The presentation marks the museums’ first ever exhibition combining religious and secular art of the Spanish Americas.

The exhibition has been organized for the Harvard Art Museums by Horace D. Ballard, the Theodore E. Stebbins, Jr. Associate Curator of American Art, and is Ballard’s first major exhibition at Harvard since joining the museums in 2021. Natalia Ángeles Vieyra, Associate Curator of American Art at the Worcester Art Museum, contributed to the early thinking of the show when she served as the 2019–22 Maher Curatorial Fellow of American Art at the Harvard Art Museums. From the Andes to the Caribbean will be on display March 3 through July 30, 2023, in the museums’ special exhibitions gallery on Level 3. All in-gallery materials are being presented bilingually, in Spanish and English.

The Spanish empire and its mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire, its colonial past continues to inform the art and culture of the Americas.

From the Andes to the Caribbean emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons; the ways in which empire begets hybrid cultural identities; and the relationship between labor, wealth, and luxury. Paintings from present-day Bolivia, Cuba, Ecuador, Peru, Puerto Rico, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany, Mexican cochineal, and Peruvian silver, underlining the great diversity of works of art broadly referred to as either ‘Viceregal’, ‘Spanish colonial’, or simply ‘American’.

“My hope for this exhibition is to begin to unravel decades-long assumptions and half-truths about the definitions and origins of American art,” said Ballard. “In exploring works of print and design, as well as painted icons and portraiture from the 17th and 18th centuries in the Viceroyalties of Peru and New Spain, I aim to expand the narratives that many North American collections, including the Harvard Art Museums, have told for generations.”

The 50 objects on view include 26 paintings on loan from the Carl & Marilynn Thoma Foundation, dating from roughly 1600 to the mid-19th century, including exquisitely rendered depictions of Christian saints, angels, and the Holy Family, as well as portraits of those who had political and military influence within the royal court of Spain; 18th-century wood furniture and silver tableware from the Harvard Art Museums’ collections; samples of pigments and metals from the Straus Center for Conservation and Technical Studies that show some of the materials mined by Indigenous laborers and used by Spanish colonial artists in their work; a 1729 volume of The English Pilot, a series of sea atlases produced in England that chart the major ports and cities in the Americas, on loan from the Harvard Map Collection; and on loan from Harvard’s Arnold Arboretum Library, a 1787 French text that explains the production of carmine, a highly prized pigment whose secrets of manufacture were closely guarded by the Spanish.

“The names of many of the artists of the works in the exhibition are unknown to scholars, as racism, market factors, customs of religious humility, and the ethos of the guilds or workshops in which the works were created makes it difficult to assign authorship,” said Ballard.

Small round portrait depicting a girl and mounted in an ornamental gilded frame.

Diego Antonio de Landaeta, Portrait of Petronila Méndez, 1763, oil on panel, 6.5 × 7.5 inches (Carl & Marilynn Thoma Collection, TL42430.26; photo by Jamie Stukenberg).

However, key examples of paintings from three African diasporic makers are on display: Juan Pedro López (1724–1787), considered the finest artist active in 18th-century Venezuela; José Campeche y Jordán (1751–1809), arguably the greatest religious painter born in America during the centuries of colonial rule and occupation; and Diego Antonio de Landaeta (active 1749–1799), a member of a large family of artists working in 18th-century Caracas. López’s Our Lady of Guidance (1765–70) depicts a statue that was installed in a niche within the Catholic church of San Mauricio in Caracas, Venezuela, in 1704. Tobias and the Angel (1787), by Campeche y Jordán, is based on a narrative from around 300–200 BCE, in which the archangel Raphael disguises himself and accompanies the blind Tobias on a long journey. Landaeta’s portrait of Petronila Méndez (1763), a wealthy child from colonial Venezuela, is the only extant work by the artist that has been identified.

Importantly, the exhibition also explores materials that artists used in their work and that were traded extensively across the world, including copper, silver, gold, cochineal, and mahogany. Silver from the Viceroyalty of Peru (present-day Bolivia) was extremely significant in the world economy, including colonial-era Boston. It is estimated that 60–80 percent of the world’s silver during America’s colonial era came from Potosí, an Inkan settlement in the Andes. A majority of the eight silver works on display, including casters, sugar vessels, and coins from the Harvard Art Museums’ collections, are believed to be molded from silver mined at Potosí. A tea chest, tea table, and bombé secretary desk of English design provide elegant examples of transatlantic furnishings crafted from mahogany, a prized shipbuilding material with a history inseparable from colonialism and the enslaved labor used to grow, fell, and process the wood for manufacture.

Loans and exhibition coordination courtesy of the Carl & Marilynn Thoma Foundation. Support for the exhibition is provided by the Henry Luce Foundation Fund for the American Art Department; the Bolton Fund for American Art, Gift of the Payne Fund; the Alexander S., Robert L., and Bruce A. Beal Exhibition Fund; and the Gurel Student Exhibition Fund. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund.

The curatorial team extend their special thanks to artist and educator Gabriel Sosa, who served as the chief translator of exhibition materials; curator and scholar Suzanne Stratton-Pruitt; Kathryn Santner, 2022–24 Mayer Center Fellow, Denver Art Museum; Thomas B.F. Cummins, Dumbarton Oaks Professor of Pre-Columbian and Colonial Art, Harvard University; and colleagues at the Harvard Map Collection, the Harvard University Herbaria & Libraries, and Harvard’s David Rockefeller Center for Latin American Studies.

%d bloggers like this: