Fascinated and intrigued by the pre-Hispanic and folk art they saw during their first trip to Mexico in 1936, Josef and Anni Albers made thirteen additional visits from 1937 to 1967. It was indeed this art that inspired most of Albers’s most significant work, mainly related to the use of color: the series Variants on a Theme and Homage to the Square. Their visits coincided with the period when Luis Barragán was developing some of his most outstanding work and introducing his signature use of color (Casa Barragán, Casa Prieto-López, Capilla Capuchinas, Casa Gálvez, Las Arboledas, and Establos San Cristóbal). However, it is not clear if the artists and architects ever met in Mexico. Given Albers’s and Barragán’s interest in and use of color, and mutual friends, it would seem likely that the two men met in Mexico. However, there is no evidence that they met before their encounter at the Albereses’ New Haven studio in 1967. So, what triggered their interest in color? And more importantly, did one have an influence upon the other? This paper studies the relationships between the work of Albers and Barragán, the possible influences and inspirations at play, and the student work from the seminar “Luis Barragán: Light, Color, and Water,” a course that helps better understand Barragán’s use of color.
The approach also allows Stuven and Cid to identify a number of key moments in Chile's independence struggle and its aftermath. Such moments occurred when political debates took on a definitive feature, shifted points of emphasis, or became emblematic of a larger trend in transatlantic political discourse. One of the moments that stood out to me came during the meeting of the Cádiz Cortes (1810-1814), at which time Henríquez, Irisarri, and others in Chile published detailed arguments in favor of greater American representation in that body, demonstrating that they were already working out plans for electoral representation and organization in Chile.One problem with this approach is that it largely leaves out the political activities that occurred between these key moments. We do not get a clear picture of how the political field was shaped by the actions of men interacting with the changing institutions of the state. Bernardo O'Higgins is discussed because he left behind writings and proclamations, but José Miguel Carrera is left out; José Miguel Infante gets attention for his writings and congressional speeches, but Francisco Antonio Pinto is hardly mentioned. I was happy to see the ideas of the radical printer Santiago Ramos included, but, oddly, there is not a single mention of Diego Portales, even in the chapter on order, the only chapter that extends into the 1830s and 1840s. Thus the process of how we go from the Patria Vieja to the Patria Nueva or from the Constitution of 1828 to the Constitution of 1833 is not really explained. We see only a reflection of that history in the mirror of political ideas.Nevertheless, that reflection is absolutely essential to grasping the significance of Chilean political thought in the history of the wider Atlantic republican world. This book delivers on its promise to raise the international profile of Chilean political thought in the nineteenth century. james a. wood,
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