Aaron M Hyman
Biographic Data
| ID | 685967 |
|---|---|
| NAME | Aaron M Hyman |
| GIVEN NAMES | Aaron M |
| FAMILY NAME | Hyman |
| SIGNATURE | HYMAN A M |
| AFFILIATIONS | Johns Hopkins University |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 21 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
“The Uniformity of a Distinctive National Character”
This essay treats an extraordinary equestrian portrait of the New Spanish viceroy Bernardo de Gálvez created from little more than a looping, calligraphic line. Unique among viceregal painting, it has eluded definitive scholarly interpretation. A previously unexplored, printed calligraphic model is proposed. At stake, however, is not just source hunting but a reappraisal of the picture’s intellectual context within a network of the period’s renow…
The colonial archive and its fictions
The archive has played a crucial role in art historical scholarship in helping to flesh out the identities of colonial artists, scribes, and writers. But the vagaries of history, colonialist violences, and postcolonial regimes mean that the archives undergirding such study are particularly unstable. This essay treats the role of archives (their lacunae as well as their surpluses) in shaping the historical methods and scholarly desires around thes…
Crossing the Line
In 1706 Cristóbal de Villalpando signed a painting with an unusual, intensive calligraphic flourish, and sent it from Mexico City far to the north. This essay describes Villalpando's decision to invest so much pictorial energy in letterforms against this geographic backdrop. Doing so reveals several social registers in which writing had taken on particular professional charge, and opens on to a yet broader artistic sensitivity to writing: its for…
Lost and Found at Sea, or a Shipwreck’s Art History
To be lost and found at sea: What kinds of thinking does the shipwreck prompt? This essay pursues this question by centering fragmented remains—large beeswax blocks and Chinese porcelain ware—from the Santo Cristo de Burgos, a Spanish galleon lost while traveling from Manila to Acapulco at the end of the seventeenth century. By considering how durable commodities were recovered and reimagined, primarily by Indigenous inhabitants of the Oregon co…
Rubens in Repeat
The Utility of George Kubler in Andahuaylillas, Peru
Returning in 1966 to his “On the Colonial Extinction of the Motifs of Pre-Columbian Art” of 1961,1 George Kubler noted, “I thought that American antiquity was ‘extinct beyond recall.’ I still believe this.”2 This idea, laid out at length in the earlier essay, has for many years been criticized as ignoring the material evidence that Indigenous forms were still deployed in the colonial period. The rapid growth of the discipline of colonial Latin Am…
New stages for new Spanish painting
Heaven, Hell, and Everything in Between
With the publication of Ananda Cohen Suarez’s book, Andean studies and colonial Latin American art history at last have an English-language treatment of mural painting in highland Peru, one of the most significant artistic genres of the colonial period. This book is guided less by one central claim or question than by an attempt to advance a general approach: Cohen Suarez urges us to contextualize murals within their architectonic settings and th…
Brushes, Burins, and Flesh
This essay examines the erotic works produced collaboratively by members of Karel van Mander's so-called "Haarlem Academy" to suggest that early modern art making created a space in which slippages could occur between homosocial relationships and homoerotic practices. Hierarchical power relations inherent to collaboration, and to early-modern precursors to formalized academies, facilitated these dynamics because they structurally replicated essen…
Out of The Shadow of Vasari
Within shifts affecting colonial studies, a 'life-work model' employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the 'artist' whose 'artwork' was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroya…
Object and Apparition
There are surprisingly few sustained art historical studies of Andean miracle-working statues and the iconic paintings they spawned in the viceregal period. The field, it seems, has been caught in
Out of The Shadow of Vasari
Within shifts affecting colonial studies, a 'life-work model' employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the 'artist' whose 'artwork' was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroya…
Object and Apparition
There are surprisingly few sustained art historical studies of Andean miracle-working statues and the iconic paintings they spawned in the viceregal period. The field, it seems, has been caught in
The colonial archive and its fictions
The archive has played a crucial role in art historical scholarship in helping to flesh out the identities of colonial artists, scribes, and writers. But the vagaries of history, colonialist violences, and postcolonial regimes mean that the archives undergirding such study are particularly unstable. This essay treats the role of archives (their lacunae as well as their surpluses) in shaping the historical methods and scholarly desires around thes…
Rubens in Repeat
Crossing the Line
In 1706 Cristóbal de Villalpando signed a painting with an unusual, intensive calligraphic flourish, and sent it from Mexico City far to the north. This essay describes Villalpando's decision to invest so much pictorial energy in letterforms against this geographic backdrop. Doing so reveals several social registers in which writing had taken on particular professional charge, and opens on to a yet broader artistic sensitivity to writing: its for…
Object and Apparition
There are surprisingly few sustained art historical studies of Andean miracle-working statues and the iconic paintings they spawned in the viceregal period. The field, it seems, has been caught in
Out of The Shadow of Vasari
Within shifts affecting colonial studies, a 'life-work model' employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the 'artist' whose 'artwork' was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroya…
Brushes, Burins, and Flesh
This essay examines the erotic works produced collaboratively by members of Karel van Mander's so-called "Haarlem Academy" to suggest that early modern art making created a space in which slippages could occur between homosocial relationships and homoerotic practices. Hierarchical power relations inherent to collaboration, and to early-modern precursors to formalized academies, facilitated these dynamics because they structurally replicated essen…
New stages for new Spanish painting
Heaven, Hell, and Everything in Between
With the publication of Ananda Cohen Suarez’s book, Andean studies and colonial Latin American art history at last have an English-language treatment of mural painting in highland Peru, one of the most significant artistic genres of the colonial period. This book is guided less by one central claim or question than by an attempt to advance a general approach: Cohen Suarez urges us to contextualize murals within their architectonic settings and th…
The Utility of George Kubler in Andahuaylillas, Peru
Returning in 1966 to his “On the Colonial Extinction of the Motifs of Pre-Columbian Art” of 1961,1 George Kubler noted, “I thought that American antiquity was ‘extinct beyond recall.’ I still believe this.”2 This idea, laid out at length in the earlier essay, has for many years been criticized as ignoring the material evidence that Indigenous forms were still deployed in the colonial period. The rapid growth of the discipline of colonial Latin Am…
Lost and Found at Sea, or a Shipwreck’s Art History
To be lost and found at sea: What kinds of thinking does the shipwreck prompt? This essay pursues this question by centering fragmented remains—large beeswax blocks and Chinese porcelain ware—from the Santo Cristo de Burgos, a Spanish galleon lost while traveling from Manila to Acapulco at the end of the seventeenth century. By considering how durable commodities were recovered and reimagined, primarily by Indigenous inhabitants of the Oregon co…
Rubens in Repeat
Crossing the Line
In 1706 Cristóbal de Villalpando signed a painting with an unusual, intensive calligraphic flourish, and sent it from Mexico City far to the north. This essay describes Villalpando's decision to invest so much pictorial energy in letterforms against this geographic backdrop. Doing so reveals several social registers in which writing had taken on particular professional charge, and opens on to a yet broader artistic sensitivity to writing: its for…
“The Uniformity of a Distinctive National Character”
This essay treats an extraordinary equestrian portrait of the New Spanish viceroy Bernardo de Gálvez created from little more than a looping, calligraphic line. Unique among viceregal painting, it has eluded definitive scholarly interpretation. A previously unexplored, printed calligraphic model is proposed. At stake, however, is not just source hunting but a reappraisal of the picture’s intellectual context within a network of the period’s renow…
The colonial archive and its fictions
The archive has played a crucial role in art historical scholarship in helping to flesh out the identities of colonial artists, scribes, and writers. But the vagaries of history, colonialist violences, and postcolonial regimes mean that the archives undergirding such study are particularly unstable. This essay treats the role of archives (their lacunae as well as their surpluses) in shaping the historical methods and scholarly desires around thes…
History (10 works) · Art (9 works) · Archaeology (8 works) · Latin American history and culture (7 works) · Art history (6 works) · History (5 works) · Painting (5 works) · Philosophy (5 works) · Colonialism (4 works) · Computer Science (4 works)