Notes towards a hypothesis about colonial painting

Abstract

In this article Schenone puts forth the central arguments towards a general hypothesis on South American colonial painting, based on analyzing and understanding the Andean pictoric production in generative terms, and not exclusively as derivatives of European models. This has been formulated by examining and comparing meticulously European modern art pieces (XVI century to 1800) and their working methods with what can be considered their equivalent in Andean colonial painting. The text is followed by a note written by José Emilio Burucúa in which he reflects upon art and mimesis in Europe.