Search results
Results from the WOW.Com Content Network
José Campeche y Jordán (December 23, 1751 – November 7, 1809), is the first known Puerto Rican visual artist and considered by art critics as one of the best rococo artists in the Americas. Campeche y Jordán loved to use colors that referenced the landscape of Puerto Rico, as well as the social and political crème de la crème of colonial ...
There is also rock art and remains of stone tools. [38] El Pinacate and Gran Desierto de Altar Biosphere Reserve: Sonora: 2013 1410; vii, viii, x (natural) The reserve is located in the Sonoran Desert. The Pinacate Shield has numerous volcanic features, the most prominent being ten maar (steam blast) volcanic craters that are almost perfectly ...
They estimate a human population of between 30,000 and 50,000 during the cultural peak of the city, from 750 to 850 AD. [4] Additionally, researchers believe that Valeriana's social structure and urban density may indicate a highly diverse, organised society in which its residents regularly interacted with their rural neighbours.
The centro histórico of Campeche is a beautiful example of a fortified urban center in the viceregal baroque style. It contains many examples of Spanish Colonial architecture, and the fortifications system of Campeche is an important example of Spanish military architecture of the 17th and 18th centuries. These qualities have earned it the ...
To pay homage to Clausell and recognize him as one of the precursors to modern art in Mexico, a juried event called the Bienal de Pintura Joaquín Clausell (Biennial of the Painter Joaquín Clausell) has been sponsored by the National Council for Culture and Arts, the Ministry of Culture of the State of Campeche and the Autonomous University of ...
Art historian Dawn Ades writes, "Far from being inferior, or purely decorative, crafts like textiles or ceramics, have always had the possibility of being the bearers of vital knowledge, beliefs and myths." [51] Recognizable art markets between Natives and non-Natives emerged upon contact, but the 1820–1840s were a highly prolific time.
This painting was intended to "contrast a Caucasian with an African beauty". In the painting, the black woman represents the beauty of a black pearl and the white woman represents the beauty of a white pearl. [83] Manual labourers who spent extended periods of time outside developed a darker skin tone due to exposure to the sun.
The evidence of human presence is shown by the lightly worn path, a hamlet and church lying in the central plain, and closer to the foreground, two locals are seen before a cross. The church, a trademark detail in Church's paintings, is Catholic and Spanish-colonial, and seemingly inaccessible from the viewer's location.