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• Mexican Costumbrismo: Race, Society, and Identity in Nineteenth-Century Art by Mey-Yen Moriuchi
• Nathan J. Gordon

Instead of embracing costumbrismo as a traditional Mexican art form and adaptation that celebrates the authentic cultural representations of daily Mexican life during the latter part of the nineteenth century, Mey-Yen Moriuchi demonstrates that a vast number of Mexican costumbrista paintings were actually fortifying and reimagining established colonial and racial social constructions rooted in casta paintings (2). Many of the colorful paintings analyzed in Moriuchi’s handsome cover and text on Mexican costumbrismo are customarily thought to be truthful depictions of the various regional peoples, customs, attire, and lifestyle. In fact, since their introduction, Mexican society has for the most part trusted these portrayals and relied on them in shaping Mexican identity. Moriuchi takes a step back from the conventional consensus and recognizes that the majority of the costumbrista artists were either Mexican aristocrats or foreign travelers that held a strong tendency of “othering” in their outsider paintings (5). From this stimulating perspective, it is revealed that what was once thought of as reliable self-identifying national imagery is in truth an elite production designed to maintain and promote a colonial-based hierarchy. Mexican costumbrista text and imagery propagandized and advanced customary types that reinforced national, gender, social, and racial identities (130).

Relying on her training in art history, Moriuchi touches on acquainted topics of cultural encounters and national, racial, and social identities and applies them to a variety of convincing costumbrista mediums, such as paintings, drawings, lithographs, photographs, and even literature. Each of these art forms eventually takes the spotlight throughout five well-organized and succinct chapters. Although the first chapter, “Racialized Social Spaces and Costumbrista Paintings,” might have benefited more from the inclusion of additional casta visuals and comparisons, as it is the primary premise of the study, the bulk of the text is successful with its inclusion of a wide array of costumbrista images. Aside from a keen investigation of an assortment of interconnected costumbrista sources, Moriuchi also provides plenty of historical background on the original artists: José Agustín Arrieta, Josefa Sanromán, Juliana Sanromán, Felipe Santiago Gutiérrez, and Manuel Serrano. As each [End Page 171] of these artists are highlighted, emphasis is placed on their nontraditional and uncelebrated approximation to painting individuals and the mundane, since “paintings of low and vulgar subjects did nothing to advance the status of an artist . . . if an artist painted lowly, inferior subject matter, then he was considered a low and inferior man” (82). Other costumbrista artists investigated include Alenza, Joaquín Heredia, Hesiquio Iriarte, Andrés de Islas, Claudio Linati, Carl Nebel, Édouard Pingret, Johann Moritz Rugendas, and J. Vallejo. Outside of paintings and lithographs, Moriuchi likewise relies on photographers such as Claude Désiré Charnay, François Aubert, and Cruces and Campa. For her literary sources, she explores Mosaico mexicano, El museo mexicano, Los mexicanos pintados por sí mismos, and The Magic Lantern. All of these sources eloquently strengthen Moriuchi’s compendious study.

Moriuchi carefully utilizes her logical collection of costumbrista sources but also makes certain to consistently reexamine and compare her initial arguments to all incoming evidence. Focusing on how the deliberated images propagate national Mexican stereotypes and construct fictitious identities based on the “colonial and postcolonial subject,” special attention is given to the ways by which these objectives are achieved (9). The figures presented in the images are stereotypically typecasted through their dress, props, settings, poses, professions, gestures, facial expressions, accessories, and ethnicities (13, 21). Original influences that helped produce these forced categories are often reviewed as supplementary support. The scientific writings and illustrations of European travelers, such as the notorious Alexander von Humboldt, are considered foundational by Moriuchi in the “formation of Mexican stereotypes” in costumbrista art (32). Even during the concluding years of the costumbrista movement, photography followed suit with similar typecasting and design. Collectable photographs known as tarjetas de visita, which were collected by the wealthy, also fortified the fabricated Mexican social stratus...

审核人：

• Mey-Yen Moriuchi的墨西哥Costumbrismo：十九世纪艺术中的种族，社会和身份
• 内森·戈登（Nathan J.Gordon）

一世Mey-Yen Moriuchi并没有将Costumbrismo视为一种传统的墨西哥艺术形式，而采用改编来庆祝19世纪下半叶墨西哥人日常生活的真实文化表现，相反，Mey-Yen Moriuchi展示了许多墨西哥Costumbrista绘画实际上是在强化和重新构想已建立的植根于种姓绘画的殖民和种族社会建构（2）。通常，人们认为，在Moriuchi精美的封面和墨西哥Costumbrismo文字中分析的许多彩色画作，都是对各个地区人民，习俗，着装和生活方式的真实描绘。实际上，自从引入墨西哥以来，墨西哥社会在很大程度上信任了这些描述，并依靠它们来塑造墨西哥的身份。森内从传统共识中退后一步，认识到大多数的服装设计师是墨西哥贵族或外国游客，他们在外来画中倾向于“另辟ing径”（5）。从这个令人兴奋的角度来看，它揭示了曾经被认为是可靠的自我识别国家形象的东西，实际上是旨在维持和促进基于殖民地的等级制度的精英作品。墨西哥Costumbrista文字和图像宣传并提高了习惯类型，从而增强了民族，性别，社会和种族身份（130）。事实证明，曾经被视为可靠的自我识别国家形象的东西实际上是旨在维持和促进基于殖民地的等级制度的精英产品。墨西哥Costumbrista文字和图像宣传和提高了习惯类型，从而增强了民族，性别，社会和种族身份（130）。事实表明，曾经被认为是可靠的自我识别国家形象的实际上是一种旨在维持和促进基于殖民地的等级制度的精英产品。墨西哥Costumbrista文字和图像宣传和提高了习惯类型，从而增强了民族，性别，社会和种族身份（130）。

依靠她在艺术史上的训练，Moriuchi谈到了文化相遇以及民族，种族和社会身份的熟悉话题，并将其应用于各种令人信服的Costumbrista媒介，例如绘画，素描，石版画，照片，甚至文学。这些艺术形式中的每一种最终都在五个井井有条，简洁明了的章节中引起人们的关注。尽管第一章“种族化的社会空间和Costumbrista绘画”可能会从更多的Casta视觉效果和比较中受益，因为这是本研究的主要前提，但本文的大部分内容都是成功的，因为它包含了各种各样的Costumbrista图像。除了深入研究各种相互关联的Costumbrista来源外，Moriuchi还为原始艺术家提供了许多历史背景：何塞·阿古斯丁·阿列塔，何塞·圣罗曼，朱莉安娜·圣罗曼，费利佩·圣地亚哥·古铁雷斯和曼努埃尔·塞拉诺。作为每个[末页171]突出显示了这些艺术家，重点放在了他们对绘画个人和世俗的非传统和无与伦比的近似上，因为“低俗的绘画对提高艺术家的地位没有任何帮助。。。如果一个画家的绘画水平低，主题次低，那么他就被认为是一个低矮而卑劣的人”（82）。接受调查的其他Costumbrista艺术家包括Alenza，JoaquínHeredia，Hesiquio Iriarte，Andrésde Islas，Claudio Linati，Carl Nebel，ÉdouardPingret，Johann Moritz Rugendas和J.Vallejo。除绘画和石版画外，Moriuchi同样依赖ClaudeDésiréCharnay，FrançoisAubert和Cruces and Campa等摄影师。对于她的文学资源，她探索了Mosaico mexicano，El museo mexicano，Los mexicanos pintados porsímismos和The Magic Lantern。所有这些资料都雄辩地加强了Moriuchi的专业研究。

Moriuchi谨慎地利用了她的cosumbrista来源的逻辑集合，但也确保始终如一地重新审查并将其最初的论据与所有传入的证据进行比较。着重研究的图像如何传播墨西哥国家的定型观念并基于“殖民地和后殖民主体”构建虚构的身份，对实现这些目标的方式给予了特别关注（9）。图像中呈现的人物通过其着装，道具，设置，姿势，职业，手势，面部表情，饰品和种族被刻板地刻画出来（13、21）。通常将有助于产生这些强迫类别的原始影响视为补充支持。欧洲旅行者的科学著作和插图，例如臭名昭​​著的亚历山大·冯·洪堡（Alexander von Humboldt），被Moriuchi认为是Costumbrista艺术中“墨西哥定型观念的形成”的基础（32）。即使在costumbrista运动的最后几年，摄影也照样进行了类似的打字和设计。收藏照片称为富有的人收集的tarjetas de visita也加强了伪造的墨西哥社会阶层...