View Diana Magaloni’s profile on LinkedIn, the world’s largest professional community. Diana has 1 job listed on their profile. See the complete profile on. Sixteenth Century Journal XLVI/4 () he Colors of the New World: Artists, Materials, and the Creation of the Florentine Codex. Diana Magaloni Kerpel. Read 16 publications, and contact Diana Magaloni on ResearchGate, the pictórica mural prehispánica: el Templo Rojo de Cacaxtla / D.I. Magaloni Kerpel.
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Art of the Ancient Americas Program at LACMA Awarded Mellon Grant
Artists, Materials, and the Creation of the Florentine Codex. Harriet Smart University of Sheield, U. Diiana its importance, the manuscript has been the subject of intense scholarly research.
Artists, Materials, and the Creation of the Florentine Codex ills several signiicant remaining gaps in our understanding of its construction.
Diana Magaloni Kerpel, New Director of the National Museum of Anthropology
While other more recent scholarship has sought to emphasize tlacuiloque creative agency, these skilled artists have continued to be perceived as assistants to the great Franciscan. Previous scholars have tended to cast the tlacuiloque as neophytes submissive to a colonizing agenda and European education.
Magaloni Kerpel explores evidence of their familiarity with the Renaissance idea of painting as a liberal art and argues that this education enabled the tlacuiloque to create an entirely new artistic tradition, in dialogue with European precepts as well as native traditions.
Close source analysis reveals that the Nahuatl description of the image of Paynal untrans- lated in the Spanish Florentine Codex, book 1, fol.
One of the most intriguing discoveries of this interdisciplinary research is that tlacuil- oque artists used both plants and minerals to produce the same colors.
In my view, he Colors of the New World would have beneitted from the use of cer- tain technical apparatus. Given the central importance of illustration to this research, a reference list of igures would have been useful.
Elsewhere, the frequent use of technical Nahuatl terminology requires, in my opinion, a glossary. Aside from this, Magaloni Kerpel wears her complex blend of methodology lightly, which renders her sophisticated research accessible to a wide audience.
It instates the accomplished tlacuiloque as architects of a new artistic genre, dexterously combining New and Old World techniques and ideas.
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