1. Latin American Art
Period 4 CE

2. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c
Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541–1542 C.E. Ink and color on paper.

3. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c
Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541–1542 C.E. Ink and color on paper.
Around 1541, the first viceroy of New Spain, Antonio de Mendoza, commissioned a codex to record information about the Aztec empire.
Viceroy Mendoza intended to send the codex to the Spanish King, Emperor Charles V of Spain, but French pirates acquired the codex and it ended up in France.
The Codex Mendoza was painted on European paper and bound in European style, unlike the indigenous pre-Columbian books of Mexico, which were painted on bark paper or deerskin and folded like a screen.
The Codex Mendoza, contained information about the lords of Tenochtitlan, the tribute paid to the Aztecs, and an account of life “from year to year.”
The artist or artists were indigenous, and a priest that spoke Nahuatl, the language spoken by the Aztecs, often annotated the images in Spanish. (

4. The Codex’s frontispiece relates information about the organization and foundation of the Aztec capital, Tenochtitlan (the place of the prickly pear cactus.)
The cactus is a prickly pear cactus, which in Nahuatl is nochtli. The cactus grows from a stone, or tetl. When paired together, they form te-noch to connote the place of the prickly pear cactus, or Tenochtitlan.
The Mexican flag displays the same symbol, relating to the mythic origins of the Mexican capital.

5. It shows a diagram of Tenochtitlan, with the city divided into four parts by intersecting blue-green undulating diagonals as the city was made of canals and divided into four quarters. The division was believed to align with the four cardinal directions.
The center shows the eagle on a cactus, which is the symbol for Tenochtitlan.
The simple structure above the eagle symbolizes a temple. It is possibly the Templo Mayor, or the Aztec’s main temple that was located in the sacred precinct. To the right of the eagle is a simplified skull rack (tzompantli), another structure found near the Templo Mayor.
Different types of plants, including maize, are found in the city’s four quadrants, alluding to agriculture.
Ten men, wearing white clothing, are the men who led the Aztecs to this island location.

6. Las Meninas. Diego Velázquez. c. 1656 C.E. Oil on canvas.

7. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c
Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541–1542 C.E. Ink and color on paper.
Around 1541, the first viceroy of New Spain, Antonio de Mendoza, commissioned a codex to record information about the Aztec empire.
The Codex’s frontispiece relates information about the organization and foundation of the Aztec capital, Tenochtitlan (the place of the prickly pear cactus.)
The center shows the eagle in a cactus, which is the symbol for Tenochtitlan.
The Mexican flag displays the same symbol, relating to the mythic origins of the Mexican capital.
A diagram of Tenochtitlan, the city is divided into four quarters by intersecting blue-green undulating diagonals as the city was made of canals.

8. The simple structure above the eagle symbolizes a temple
The simple structure above the eagle symbolizes a temple. It is possibly the Templo Mayor.
To the right of the eagle is a simplified skull rack (tzompantli), another structure found near the Templo Mayor.
Different types of plants, including maize, are found in the city’s four quadrants, alluding to agriculture.
Ten men are also depicted in the four quadrants, wearing white clothing. These figures are the men who led the Aztecs to this island location.
At the bottom of the page, warriors grasping the hair of their captives hold an obsidian-edged sword and a club before burning temples representing early victories over the towns of Colhuacan and Tenoyucan.

9. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c
Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541–1542 C.E. Ink and color on paper.
Style:
The Codex Mendoza was painted on European paper and bound in European style, unlike the indigenous pre-Columbian books of Mexico, which were painted on bark paper or deerskin and folded like a screen.
Contextual Analysis:
The Codex Mendoza, contained information about the lords of Tenochtitlan, the tribute paid to the Aztecs, and an account of life “from year to year.”
The artist or artists were indigenous, and a priest that spoke Nahuatl, the language spoken by the Aztecs, often annotated the images in Spanish.
Viceroy Mendoza intended to send the Codex to the Spanish King, Emperor Charles V of Spain, but French pirates acquired the Codex and it ended up in France. (

10. Las Meninas. Diego Velázquez. c. 1656 C.E. Oil on canvas.
Translated: Ladies in Waiting
King Philip IV of Spain
La Infanta Margaret Theresa
Diego Velázquez

11. Las Meninas. Diego Velázquez. c. 1656 C.E. Oil on canvas.
As you view the video, take note:
Who is featured in the painting?
Why are they important?
What was Diego Velazquez’ occupation?

12. QUIZ Which of the following is NOT true of Velázquez's Las Meninas?
The mirror shows the king and queen, who may be in the painter's canvas or where the viewer is standing.
This painting was commissioned for the king's study.
Nearly all of the figures in the painting are looking out at the viewer(s), who may be the king and queen.
The painting takes place in the King's picture gallery.

13. The painting takes place in the King's picture gallery.
QUIZ
Which of the following is NOT true of Velázquez's Las Meninas?
The mirror shows the king and queen, who may be in the painter's canvas or where the viewer is standing.
This painting was commissioned for the king's study.
Nearly all of the figures in the painting are looking out at the viewer(s), who may be the king and queen.
The painting takes place in the King's picture gallery.

14. 2. There is a strong sense of ___ and ___ which is unusual in a royal portrait.
Staged drama and formality
Danger and spirituality
Spontaneity and informality

15. Spontaneity and informality
2. There is a strong sense of ___ and ___ which is unusual in a royal portrait.
Staged drama and formality
Danger and spirituality
Spontaneity and informality

16. The painting is an unusual combination of _____ and _____.
Genre scene and royal portrait
Allegory and still life
History painting and landscape

17. Genre scene and royal portrait
The painting is an unusual combination of _____ and _____.
Genre scene and royal portrait
Allegory and still life
History painting and landscape

18. 4. The painting shows Velázquez's insignificance to the Spanish court.
True
False

19. 4. The painting shows Velázquez's insignificance to the Spanish court.
True
False