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Los impresos constituyen un universo de pensamientos, miradas y representaciones del mundo, y más allá de éste, de las posibilidades del intelecto humano. Su estudio requiere problematizar su producción, circulación, consumo y pervivencia, sin perder de vista las ausencias emanadas de la censura y los controles jerárquicos, o bien debidas a la prevalencia de ideologías, miradas sesgadas y omisiones. Las técnicas de estampado e impresión han cambiado de manera vertiginosa en los últimos cinco siglos y se ha conformado un enorme patrimonio que desafortunadamente es poco comprendido y revisitado, pues prevalece un sistema científico que descarta fácil mente las ideas y utopías del pasado para entregarse a la novedad, muchas veces carente de fondo. Este libro invita a considerar que cada aproximación a un impreso conlleva la reflexión sobre las distintas lecturas que se logran al implementar un enfoque desde la cultura visual. También, muestra que el trabajo interdisciplinario enriquece el reconocimiento de la función de cada impreso en distintos momentos de la sociedad, así como de las interacciones geográficas y las relaciones asincrónicas. Cualquier persona dedicada a la investigación que base parte de su metodología en la revisión de fuentes publicadas sobre papel (estampas, libros, cartografías, partituras, revistas, periódicos, etcétera) encontrará ideas sobre la lectura, decodificación y trascendencia de estas producciones.

Visual perception --- Mexican art --- Books and reading in art --- Books in art --- Perception visuelle. --- Art mexicain. --- Livres et lecture --- Dans l'art.

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Since the colonial era, Mexican art has emerged from an ongoing process of negotiation between the local and the global, which frequently involves invention, synthesis, and transformation of diverse discursive and artistic traditions. In this pathfinding book, María Fernández uses the concept of cosmopolitanism to explore this important aspect of Mexican art, in which visual culture and power relations unite the local and the global, the national and the international, the universal and the particular. She argues that in Mexico, as in other colonized regions, colonization constructed power dynamics and forms of violence that persisted in the independent nation-state. Accordingly, Fernández presents not only the visual qualities of objects, but also the discourses, ideas, desires, and practices that are fundamental to the very existence of visual objects. Fernández organizes episodes in the history of Mexican art and architecture, ranging from the seventeenth century to the end of the twentieth century, around the consistent but unacknowledged historical theme of cosmopolitanism, allowing readers to discern relationships among various historical periods and works that are new and yet simultaneously dependent on their predecessors. She uses case studies of art and architecture produced in response to government commissions to demonstrate that established visual forms and meanings in Mexican art reflect and inform desires, expectations, memories, and ways of being in the world—in short, that visual culture and cosmopolitanism are fundamental to processes of subjectification and identity.

Art, Mexican --- Architecture --- Eclecticism in art --- Eclecticism in architecture --- National characteristics, Mexican. --- Themes, motives. --- Mexican national characteristics --- Beaux-Arts architecture --- Beaux-Arts design --- Architecture, Modern --- Art, Modern --- Architecture, Western (Western countries) --- Building design --- Buildings --- Construction --- Western architecture (Western countries) --- Art --- Building --- Mexican art --- Tepito Arte Acá (Group of artists) --- Design and construction --- Architecture, Primitive

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Painting --- History of civilization --- anno 1500-1599 --- Mexico --- Art, Mexican --- -Art, Colonial --- -Art and society --- -Christian art and symbolism --- -Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Art and sociology --- Society and art --- Sociology and art --- Colonial art --- Mexican art --- Tepito Arte Acá (Group of artists) --- Themes, motives --- Social aspects --- Art and society --- Art, Colonial --- Christian art and symbolism --- Themes, motives. --- -Themes, motives --- Art, Christian --- Religious art --- Symbolism in art

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Christian art and symbolism --- Art, Mexican --- Indian artists --- Indian influences. --- Psychology. --- 7.031.7 --- -Christian art and symbolism --- -Indian artists --- -Artists, Indian --- Artists --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Mexican art --- Tepito Arte Acá (Group of artists) --- Primitieve kunst van de Amerikaanse volken tot op heden --- Indian influences --- Psychology --- -Primitieve kunst van de Amerikaanse volken tot op heden --- 7.031.7 Primitieve kunst van de Amerikaanse volken tot op heden --- -7.031.7 Primitieve kunst van de Amerikaanse volken tot op heden --- Artists, Indian --- Religious art --- Indians of Mexico --- Christian art and symbolism - Mexico - Indian influences. --- Art, Mexican - 16th century. --- Indian artists - Mexico - Psychology. --- -Indian influences