Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’     

Isotopic Composition of Lead in Copper Ores and a Copper Artefact from the La Profunda Mine (León,Spain)

This paper continues the characterization of the lead isotopic fingerprint of ancient copper mines in the north‐west of Spain. In this work, the lead isotopic compositions found in copper ores from the La Profunda mine are presented. Azurites and malachites sampled from this deposit were subjected to lead isotope analysis by multicollector ICP–MS. The results showed a clear radiogenic lead signature compatible with the presence of uranium‐rich minerals (such as zeunerite) in the same mining complex. Moreover, a rare copper artefact, found in the galleries of the mine during its modern exploitation, was also analysed and showed that local mineral was used for its manufacturing.     

L'urne et le pot de chambre

Résumé  En 1931, Ludwig Wittgenstein a identifié l'architecte et le critique culturel Adolf Loos comme une des dix personnes qui ont exercé la plus grande influence sur son développement intellectuel. Dans cet article est examinée l'influence de Loos sur Wittgenstein, en particulier son importance dans le projet de Wittgenstein pour la maison de sa sœur, ainsi que celle exercée sur les idées concernant la langue et l'éthique exprimées dans leTractacus. In 1931, Ludwig Wittgenstein identified the architect and cultural critic Adolf Loos as one of the ten people who had exerted the greatest influence on his intellectual development. In this article, I examine Loos's influence on Wittgenstein's design for his sister's house and also on the ideas about language and ethics set out by Wittgenstein in theTractatus. JohnHyman, né en 1960, estfellow au Queen's College d'Oxford. Il a publié de nombreux articles concernant l'épistémologie, la philosophie de l'esprit, l'esthétique et la philosophie de Wittgenstein. Son prochain livre, intituléThe Objective Eye. Colour, form and reality in the theory of art (L'Œil objectif. La couleur, la forme et la réalité dans la théorie de l'art), sera publié par les Presses de l'université de Chicago en 2006.     

Communism and cultural heritage: the quest for continuity

The purpose of this paper is to discuss the theoretical genealogy and main uses of heritage in actually existing communist countries. This is performed by carrying out a critical review of Èleazar Aleksandrovi? Baller’s Communism and Cultural Heritage, (1984, Progress, Moscow). The analysis of Baller’s work reveals that the logics of heritage in communist countries differed in various ways from capitalist countries, mainly because of the almost total state control over the heritage apparatus and the subordination of heritage policies to Marxist–Leninist ideology. Heritage was fundamental in dealing with the problem of change and continuity with the traditions, narratives and identities of previous society, and in the process of transforming citizens into ‘new men’ through the cultural revolution and the inculcation of ideology through museums and monuments.     

A Contemporary Archaeology of Cultural Change in Rural North-Western Spain: From Traditional Domesticity to Postmodern Individualisation

This paper explores the built environment in two rural areas of Northwest Spain that were historically inhabited by two of the so-called “cursed peoples.” Combining contemporary archaeology and material culture studies, we analyze the role played by the house in processes of socio-economic and cultural change, and in the reproduction of internal hegemony within villages. To do so, we study the tensions and connections existing between the transformations undergone by the built environment during the last century and different socio-economic processes, including the depopulation of the rural areas, their conversion into tourist attractions, and the current process of individualisation of subjectivity in line with the transformations taking place in the postmodern era.     

The composition of late Romano-British colourless vessel glass: glass production and consumption

One hundred and twenty-eight colourless glass tablewares from settlement contexts throughout the British Isles, dating from the mid-3rd to 4th century AD, were analysed by ICP-AES spectrometry. Three distinct compositional groups were identified based upon the use of different decolourisers and primary raw materials, with possible sub-groups within these. These compositions have distinct, but overlapping chronological ranges, suggesting colourless glass production in at least three, possibly more, centres in the late Roman period. The compositional analysis highlights the high degree to which recycling of glass was taking place during this late period. The chronological distribution of some of these compositions is more restricted within the British assemblages than is observed in other published assemblages from Western Europe. This distinction may indicate different supply patterns of glass to the Western provinces.     

Temporal nature and recycling of Upper Paleolithic artifacts: the burned tools from the Molí del Salt site (Vimbodí i Poblet,northeastern Spain)

Recent research in Paleolithic archeology has stressed the importance of temporal issues in assemblage interpretation. Archeological assemblages are temporal constructs, formed by the addition of an unknown number of depositional events. This temporal dimension is also evident at the artifactual level, since single artifacts may undergo different events of modification and/or uses over time. The recycling of previously discarded blanks for tool production is one of the best examples of the temporal nature of artifacts. The aim of this paper is to evaluate the importance of recycling in a Late Upper Paleolithic site, examining a type of artifact – burned tools – that has up to now been little used to approach this issue. Our results suggest that recycling was probably a significant component of Upper Paleolithic provisioning behavior, with important implications in site formation processes and the typological variability of assemblages. The expedient or curated character of recycling is also discussed.