Name: The Mobile Image: Prints and the Shaping of Devotional Networks From Lima to the Andes and Beyond (en Inglés)
Price: 67.06 USD
Availability: InStock
Author: Emily C. Floyd
ISBN: 9781477331125

portada The Mobile Image: Prints and the Shaping of Devotional Networks From Lima to the Andes and Beyond (en Inglés)

The Mobile Image: Prints and the Shaping of Devotional Networks From Lima to the Andes and Beyond (en Inglés)

Formato

Libro Físico

Editorial

University Of Texas Press

Autor

Emily C. Floyd

Idioma

Inglés

N° páginas

256

Encuadernación

Tapa Dura

ISBN13

9781477331125

The Mobile Image: Prints and the Shaping of Devotional Networks From Lima to the Andes and Beyond (en Inglés)

Emily C. Floyd (Autor) · University Of Texas Press · Tapa Dura

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Reseña del libro "The Mobile Image: Prints and the Shaping of Devotional Networks From Lima to the Andes and Beyond (en Inglés)"

A study of the production and movement of prints in colonial South America. Printed images have had a central place in art-historical studies of colonial Spanish America, but scholars have typically focused on imported prints, designed and produced in Europe. The Mobile Image focuses instead on works printed in colonial Lima, generating there a distinctive print culture that served local and regional needs, while also appealing to European print consumers. Inexpensive, easily transportable, and numerous, Lima's prints traversed the varied geographies of the Viceroyalty of Peru both as loose sheets and within the protective covers of printed books. In the process, limeño devotional prints encouraged the development of shared regional imaginaries about the sacred Andean landscape, a space marked by miracle-working Virgins, potential saints, and powerful images of Christ. These same prints traveled abroad, where they promoted iconographies developed in Lima and influenced European conceptions of the Andes. Simultaneously, the visual language of limeño prints often challenges conventional approaches to interpreting colonial depictions of race. In analyzing limeño prints, and the identities of their makers, patrons, and consumers, The Mobile Image demonstrates that race is harder to recognize in colonial images than we might think. Unearthing hundreds of forgotten prints, Emily C. Floyd provides a fresh resource for interpreting colonial artworks, troubling established understandings of their aesthetics, and compelling us to reexamine colonial South American material cultures.