Benson Latin American Collection

A Strange Mixture: The Art and Politics of Painting Pueblo Indians During the heyday of the Taos/Santa Fe School, which lasted from about 1915 to the mid-1930s, support came from two different kinds of patrons: those intrigued by an exotic and remote Indian civilization in the far Southwest, which somehow doubled as an early America; and those who looked on the same group of Indians as descendants of the ancient Anasazi tribes, with cultural attributes that merited preservation. Distinguishing between the two groups has never been easy; some patrons frequently crossed the line. Thus, constructing a historiography of the school—that is, a rough outline of how these different kinds of paintings have been understood over the years—is also difficult and confusing.

Internet Archive Additional collections of scanned books, articles, and other texts (usually organized by topic) are presented here. The American Libraries collection includes material contributed from across the United States. Institutions range from the Library of Congress to many local public libraries. As a whole, this collection of material brings holdings that cover many facets of American life and scholarship into the public domain. Significant portions of this collection have been generously sponsored by Microsoft , Yahoo! , The Sloan Foundation , and others. Parallel Histories: Spain, the United States, and the American Frontier Home / Historias Paralelas: España, Estados Unidos y la Frontera Americana About the Project Parallel Histories: Spain, the United States, and the American Frontier is a bilingual, multi-format English-Spanish digital library site that explores the interactions between Spain and the United States in America from the fifteenth to the early nineteenth centuries. A cooperative effort between the National Library of Spain, the Biblioteca Colombina y Capitular of Seville and the Library of Congress, the project is part of the Library of Congress Global Gateway initiative to build digital library partnerships with national libraries around the world.

A Bearded Man, a Water Bird, and a Divine Monkey: Recent Gifts of Mesoamerican Art Stone and ceramic sculptors in ancient Mesoamerica mastered representations of their subjects both in the round and in low relief. Such artists were held in high regard by their communities; in ancient Maya civilization, for example, we know that they were important enough to sign their masterworks. The works of three new sculptors from ancient Mexico—though their names have gone unrecorded—are now a part of The Met collection and are on display in gallery 358. Border Heritage Center - Otis A Aultman Photo Collection By 1911 El Paso was a gathering place for many of the main personalities of the Mexican Revolution (Francisco Madero, Francisco (Pancho) Villa, Pascual Orozco) and after the shooting began, many American newsmen also flocked to El Paso to cover the event. Aultman was a man in the right place at the right time. He photographed the battle of Casas Grandes, the first battle of Juárez in May 1911, and the Orozco rebellion in 1912. He was a favorite of Pancho Villa, who called Aultman "Banty Rooster" because he was only 5'4" tall. Aultman worked for the International News Service and Pathé News and experimented with cinematography. In 1916 he was one of the first photographers to arrive at Columbus, New Mexico, after the famous raid on that town by the Villistas.

Your Questions About Luxury Arts in the Ancient Americas, Answered In the ancient Americas, skilled craftspeople made luxurious objects for ritual and regalia from their culture’s most prized materials. Jade, rather than gold, was the most precious substance to the Olmecs and the Maya in Mesoamerica; and the Incas and their predecessors in the Andes valued feathers and textiles above all. Golden Kingdoms: Luxury and Legacy in the Ancient Americas is an exhibition that traces the development of the luxury arts from 1200 BC to the beginnings of European colonization in the sixteenth century.

All That Glitters Is Not Gold: Golden Kingdoms at the Getty Center Title wall of Golden Kingdoms at the Getty Center. Photos here and below (except gallery plan): Rebecca Vera-Martinez An art history graduate student at the University of Utah, Leah Carlson-Downie recently visited the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas and was inspired to summarize her impressions. Houghton Library Boccaccio, Giovanni, 1313-1375. Le décameron : manuscript, [ca. 1460] MS Richardson 31 The Red Queen and Her Sisters: Women of Power in Golden Kingdoms Mask of the Red Queen, A.D. 672. Mexico, Chiapas, Palenque, Temple XIII. Maya. Jadeite, malachite, shell, obsidian, limestone, H. 14 7/16 x W. 9 1/16 x D. 3 1/8 in. (36.7 x 23 x 8 cm). Museo de Sitio de Palenque "Alberto Ruz L'Huillier" (10-461006, 10-629739 0/39, 10-629740 5/55), Secretaría de Cultura—INAH Among the many recently discovered works presented in the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas are the spectacular ornaments and funerary objects that reveal the newly understood prominence of women of power in the ancient Americas.

Archival Image & Media Collection The Ryerson & Burnham Archives collect artists' and architects' papers that complement and extend the permanent collections of the museum's curatorial departments. The Archives' collections are notably strong in late 19th- and 20th-century American architecture, with particular depth in Midwest, Chicago School, Prairie School and organic architecture. Architects such as Edward Bennett, Daniel Burnham, Bruce Goff, Bertrand Goldberg, Ludwig Hilberseimer, Mies van der Rohe, Louis Sullivan, and Frank Lloyd Wright and events such as the World's Columbian Exposition of 1893 and the 1933 Century of Progress International Exposition are represented in a broad range of graphic and textual records.

Golden Kingdoms: Luxury Arts in the Ancient Americas This magnificent exhibition and its corresponding catalogue, Golden Kingdoms: Luxury Arts in the Ancient Americas, are the product of a dedicated four-year research effort that gathered scholars from Latin America and the United States. The exhibition presents approximately three hundred objects that come from fifty-seven museums in thirteen countries. In addition to the prestige of the Getty and the Met, the worldwide recognition of the conscientious scholarship of the curators Pillsbury, Potts, and Richter helped to elicit the trust of a number of international institutions. This made it possible to feature many uniquely important and often recently excavated artifacts that have rarely or never left their countries of origin. The objects in this exhibition represent the pre-Hispanic cultural production of numerous Latin American nations, and this material is also part of the ancestral heritage of Latinos in the United States, who today constitutes eighteen percent of the population.