Bac On The Border

Although now on the Tohono O'odom reservation in the modern US Southwest, when the Franciscan church of San Xavier del Bac was built (1780-97), its location was the northern frontier of New Spain. From the outset the church stood out from other northern New Spanish missions in its elaborate dec...

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Detalhes bibliográficos
Autor: Umberger, Emily
Formato: artículo
Estado:Versión publicada
Fecha de publicación:2012
País:México
Recursos:UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO
Repositorio:Anales del Instituto de Investigaciones Estéticas
Idioma:español
OAI Identifier:oai:ojs.atenea.esteticas.unam.mx:article/2250
Acesso em linha:https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250
Access Level:acceso abierto
Palavra-chave:Arte colonial
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spelling Bac On The BorderBac on the BorderUmberger, EmilyArte colonialAlthough now on the Tohono O'odom reservation in the modern US Southwest, when the Franciscan church of San Xavier del Bac was built (1780-97), its location was the northern frontier of New Spain. From the outset the church stood out from other northern New Spanish missions in its elaborate decoration, and it still stands out because its contents remain intact, despite changes through time. This essay serves as an introduction to the church as a subject of art historical study. It highlights the following topics: the relationship of the Franciscan program to the Jesuit program that preceded it in an earlier church at the site, the original Franciscan arrangement of figures, style linkages among the sculptures and what they imply about the New Spanish workshop/s from which they must have been imported, the painters and plasterers who worked at the church itself, and the possibility of different readings of the program by the Spaniards who created it, succeeding religious who altered it, and generations of native congregations. In addition to documenting eighteenth-century Franciscan ideas, the church at Bac provides evidence seemingly not available elsewhere about the transferral of Jesuit properties and ideas after the order's expulsion from Spanish territories in 1767.A pesar de que actualmente se encuentra en la reserva de Tohono O'odom en el suroeste moderno de Estados Unidos, cuando la iglesia franciscana de San Xavier del Bac (1780-1797) fue construida, su ubicación era la frontera norte de la Nueva España. Desde el principio la iglesia sobresalió de las otras misiones del norte de la Nueva España por su elaborada decoración, y todavía se distingue porque su contenido ha permanecido intacto. Este ensayo es una introducción a la iglesia como sujeto de estudio de la historia del arte. Se resaltan los siguientes temas: la relación entre el programa franciscano con el jesuita que le precedió en una iglesia anterior en el emplazamiento, la disposición franciscana original de las figuras, los vínculos de estilo entre las esculturas y lo que significaban sobre el (los) taller (es) de la Nueva España de donde debieron haber sido importados; los pintores y enlucidores que trabajaron en la iglesia misma, y la posibilidad de distintas lecturas del programa creado por los españoles, sucesivos religiosos que lo alteraron, y generaciones de congregaciones autóctonas. Para documentar las ideas franciscanas del siglo XVIII, la iglesia de Bac proporciona evidencia, que aparentemente no está disponible en ningún otro lado, sobre la transferencia de propiedades e ideas jesuitas después de la expulsión de la orden de territorios españoles en 1767.Instituto de Investigaciones Estéticas2012-08-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdftext/htmlhttps://www.analesiie.unam.mx/index.php/analesiie/article/view/225010.22201/iie.18703062e.2007.91.2250Anales del Instituto de Investigaciones Estéticas; Volumen XXIX, número 91, año 2007; pp. 69-123Anales del Instituto de Investigaciones Estéticas; Volumen XXIX, número 91, año 2007; pp. 69-1231870-30620185-127610.22201/iie.18703062e.2007.91reponame:Anales del Instituto de Investigaciones Estéticasinstname:UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICOinstacron:UNAMspahttps://www.analesiie.unam.mx/index.php/analesiie/article/view/2250/2208https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250/2665info:eu-repo/semantics/openAccessoai:ojs.atenea.esteticas.unam.mx:article/22502024-08-28T16:20:58Z
dc.title.none.fl_str_mv Bac On The Border
Bac on the Border
title Bac On The Border
spellingShingle Bac On The Border
Umberger, Emily
Arte colonial
title_short Bac On The Border
title_full Bac On The Border
title_fullStr Bac On The Border
title_full_unstemmed Bac On The Border
title_sort Bac On The Border
dc.creator.none.fl_str_mv Umberger, Emily
author Umberger, Emily
author_facet Umberger, Emily
author_role author
dc.subject.none.fl_str_mv Arte colonial
topic Arte colonial
description Although now on the Tohono O'odom reservation in the modern US Southwest, when the Franciscan church of San Xavier del Bac was built (1780-97), its location was the northern frontier of New Spain. From the outset the church stood out from other northern New Spanish missions in its elaborate decoration, and it still stands out because its contents remain intact, despite changes through time. This essay serves as an introduction to the church as a subject of art historical study. It highlights the following topics: the relationship of the Franciscan program to the Jesuit program that preceded it in an earlier church at the site, the original Franciscan arrangement of figures, style linkages among the sculptures and what they imply about the New Spanish workshop/s from which they must have been imported, the painters and plasterers who worked at the church itself, and the possibility of different readings of the program by the Spaniards who created it, succeeding religious who altered it, and generations of native congregations. In addition to documenting eighteenth-century Franciscan ideas, the church at Bac provides evidence seemingly not available elsewhere about the transferral of Jesuit properties and ideas after the order's expulsion from Spanish territories in 1767.
publishDate 2012
dc.date.none.fl_str_mv 2012-08-07
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250
10.22201/iie.18703062e.2007.91.2250
url https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250
identifier_str_mv 10.22201/iie.18703062e.2007.91.2250
dc.language.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250/2208
https://www.analesiie.unam.mx/index.php/analesiie/article/view/2250/2665
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
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dc.publisher.none.fl_str_mv Instituto de Investigaciones Estéticas
publisher.none.fl_str_mv Instituto de Investigaciones Estéticas
dc.source.none.fl_str_mv Anales del Instituto de Investigaciones Estéticas; Volumen XXIX, número 91, año 2007; pp. 69-123
Anales del Instituto de Investigaciones Estéticas; Volumen XXIX, número 91, año 2007; pp. 69-123
1870-3062
0185-1276
10.22201/iie.18703062e.2007.91
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reponame_str Anales del Instituto de Investigaciones Estéticas
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