Latin American religious art naturalized the baroque by intermingling autochthonous elements into it

Evidence

The first account of this was Latin A.merican religious art, so close to lberian or Flemish baroque but so closely intermingled with autochthonous tones boldly introduced into the baroque concert. These elements do not occur as innovations in the representation ofreality but as novel bits ofinformation concerning a nature that was definitely “new.” Baroque art ceased its adversarial role; it established an innovative vision (soon a different conception) of Nature and acted in keeping with it. — Édouard Glissant, Poetics of Relation, 430

Categorization

• XREF: The claim that autochthonous tones entered as ‘new information,’ not as altered representation, connects to the reader’s question of whether creolization is a process of identity-renovation versus pure strategic borrowing. — connects to: Composite marginal cultures speak a baroque that replaces the intolerance of classicisms — Édouard Glissant, Poetics of Relation, 466; Oriental visual representation in Christian art was relational, not inherently disparaging — Ivan Davidson Kalmar, Derek Penslar, Orientalism and the Jews, 221; Modern Mexican culture fuses Indigenous and Spanish heritage into a mestizo identity — , A Year of World Stories, 10552 (+1 more)

Broader Connections

• Composite marginal cultures speak a baroque that replaces the intolerance of classicisms #expands (0.82) — Édouard Glissant, Poetics of Relation, 466
• Modern Mexican culture fuses Indigenous and Spanish heritage into a mestizo identity #exemplifies (0.80) — , A Year of World Stories, 10552
• Oriental visual representation in Christian art was relational, not inherently disparaging #corroborates (0.75) — Ivan Davidson Kalmar, Derek Penslar, Orientalism and the Jews, 221
• Baroque arose against a rationalist Nature presumed harmonious and fully knowable #expands (0.75) — Édouard Glissant, Poetics of Relation, 423