Abstract
Colonial Latin American artwork is closely tied to the complex, layered cultural diversity of its artists and audiences. In 1575, Italian artist and Jesuit Bernardo Bitti arrived in Lima, and painted the first of many large altarpieces for missionary churches throughout the viceroyalty. Bitti painted in the fashionable European style commonly called Mannerism. His iconography and subject matter followed the expectations of the reforming Catholic Church. His paintings served as guides for new converts to Christianity in Peru, and for aspiring artists in the Andes. These paintings were also weapons used in the European missionaries’ cultural war by imposing their faith and worldview. Bitti’s paintings were religious and political tools, aesthetic propaganda that educated the indigenous population about Christian narrative from the European perspective. The complexity of colonial Latin American art relates to the layered cultural experiences of individuals in the 21st century. Museums are institutions that fulfill social service roles; there is potential increase identity formation and provide social inclusion through the open dialogue about the relationship between art and cultural identity. Art can serve as a sociopolitical tool that allows visitors to explore issues such as diversity, inclusion, nationality, culture, and religion. Art therapy literature has documented the use of the museum collections as a therapeutic resource, highlighting the opportunities for social change by engaging in dialogue while emphasizing diverse viewpoints. This discussion focuses on colonial Latin American artworks as a means to facilitate the cultural identity development of visitors.
Presenters
Ashley HartmanAssistant Professor of Art Therapy, Art, Marywood University, Pennsylvania, United States Dr. Christa Irwin
Associate Professor, Art History, Art, Marywood University, Pennsylvania, United States
Details
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KEYWORDS
Art, History, Museums,Therapy, Diversity, Cultural, Identity, Colonization, Social, Issues
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