Byron Ellsworth Hamann replies to a series of articles responding to his essay “The Mirrors of Las Meninas: Cochineal, Silver, and Clay” all of which are published in the March/June 2010 issue of The Art Bulletin. Through an analysis of Mexican colonial objects in Diego Velázquez's 1656 masterpiece Las meninas, Hamann's original essay sought to demonstrate that the painting revealed transatlantic connections linking Amerindian laborers in the New World to Spanish courtiers in Madrid, from which he concluded that the painting can be included in the the field of colonial studies. Here, Hamann defends his analysis of the painting.
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