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THE ANTHROPOLOGICAL TYPES: PATAGONIANS, MESTIZOS, INDIANS AND AUSTRALIANSTop


Enviado por   •  20 de Septiembre de 2013  •  1.063 Palabras (5 Páginas)  •  425 Visitas

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THE ANTHROPOLOGICAL TYPES: PATAGONIANS, MESTIZOS, INDIANS AND AUSTRALIANSTop

Another of the values of the Malaspina expedition art collection was the collected images of the inhabitants of the worlds they visited, as their contemporaries also did and the romantic traveller painters did more intensely a few years later. The depictions will have therefore the seal of the American societies, the exotic islands of the Pacific, the Philippine Islands and the distant newly colonized territories of the New Netherlands and New Zealand.

From the “civilized” world of the Río de la Plata we only have the portrait of some ladies of Montevideo attributed to Ravenet, although logically it had to have been the work of another expeditionary since this painter had been in Mexico. Attracting much more attention is the mythical world of the Patagonian “Giants” by Pozo which are a group of very interesting drawings where Pozo himself is depicted drawing as well as the naturalist Pineda; the wild and the civilized in the same image, something that we have already seen in Requena's drawings and which happens frequently in the French and English expeditions. It is precisely this image of the marine scientist as Enlightened Spain's highest representative which appears in Ravenet's drawing done in Port Egmont, depicting Malaspina and Bustamante doing the gravity experiment, one of the crucial experiments for enlightened science that was done in the midst of the semi barbaric.

Contact with the Huiliche Indians is evident in Pozo's drawings in which the chief Catiguala and his son appear with a fine academic expression which contrasts somewhat with the sketch of Felipe Bauzá, who however depicted the Creoles as very European, although with an American “air”. Along the same lines as Pozo we find Ravenet's drawings of a native Indian from Renquelque and a Cambayon Indian, as well as the portrait of the “authentic inhabitants of the Peru”, the native Indian or the mountain Peruvian. We also find in this series of drawings some more traditional folk ones such as those by Suria about cockfighting in Acapulco, by Ravenet depicting a Mexican ‘pulcheria’ bar, a bath-house and the market of Manila or by Cardero and Brambila of ethnographic views of Mulgrave port, they are complemented by Cardero and Suria's portraits of the indigenous people of this same place. In the same style we can see the beautiful views of Nootka, representing the local customs, portraits of indigenous peoples and Chief Macuina by Suria, Bauza and Cardero, the latter being the painter of other magnificent portraits of the Chiefs the Northwest Coast and their wives. In the Philippine Islands’ case, Ravenet would paint most of these ethnographic and traditional folk portraits of the inhabitants of the archipelago, from Creole women to the Filipino women, the Chinese or the negritos of the mountains of Manila. The same painter painted portraits of the Australia natives, which contrasted greatly with Bauza's drawings depicting the English and the New Netherland convicts.

With a classic feel, there is a drawing by Ravenet depicting a woman in a hammock which the Commander in Vavao used in order to laugh at Chief Vuna who was very fond

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