<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-1276</journal-id>
<journal-title><![CDATA[Anales del Instituto de Investigaciones Estéticas]]></journal-title>
<abbrev-journal-title><![CDATA[An. Inst. Investig. Estét]]></abbrev-journal-title>
<issn>0185-1276</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-12762018000200041</article-id>
<article-id pub-id-type="doi">10.22201/iie.187003062e.2018.113.2655</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Artistic Invention as Tradition in the Portrait Painting of Late-Colonial Lima]]></article-title>
<article-title xml:lang="es"><![CDATA[Invención artística como tradición en los retratos limeños del final de la época colonial]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Engel]]></surname>
<given-names><![CDATA[Emily A.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,emilyaengel@gmail.com  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<volume>40</volume>
<numero>113</numero>
<fpage>41</fpage>
<lpage>79</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762018000200041&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762018000200041&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762018000200041&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: José Joaquín Bermejo, Cristóbal de Aguilar, Cristóbal de Lozano, and Pedro Díaz are not household names outside of Peru. However, these artists are among the most influential painters in the history of art of the eighteenth-century world. As the premier portrait painters in the global capital of Lima, these artists made visible the identities of powerbrokers who helped to shape the Ibero-American empire in its twilight. Collectively, Bermejo, Aguilar, Lozano, and Díaz facilitated a pictorial shift within a traditional genre that required archaism and repetition to maintain its cultural relevance. Their finished portraits visually demonstrate an emerging dissonance between artistic innovation and pictorial tradition. Through an examination of their late eighteenth-century corpus of work, this article demonstrates how artists adjusted the representation of elite bodies in portraiture to reflect the subtle disintegration of a unified colonized social body.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: José Joaquín Bermejo, Cristóbal de Aguilar, Cristóbal de Lozano y Pedro Díaz no son nombres muy conocidos fuera del Perú. Sin embargo, estos artistas son algunos de los pintores más influyentes en la historia del arte del mundo del siglo XVIII. Como los pintores de retratos de primera clase en la capital mundial de Lima, estos artistas hacen visibles las identidades de los agentes del poder que ayudaron a dar forma al imperio iberoamericano en su crepúsculo. Colectivamente, Bermejo, Aguilar, Lozano, Díaz y facilitó un cambio pictórico dentro de un género tradicional que requiere arcaísmo y la repetición para mantener su relevancia cultural. Sus retratos terminados demuestran visualmente una disonancia emergente entre la innovación artística y la tradición pictórica. A través de un examen de sus corpus de trabajo de finales del siglo XVIII, este artículo demuestra cómo los artistas ajustan la representación de los cuerpos de élite en el retrato para reflejar la sutil desintegración de un cuerpo social colonizado unificado.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Retrato]]></kwd>
<kwd lng="es"><![CDATA[Lima]]></kwd>
<kwd lng="es"><![CDATA[tradición]]></kwd>
<kwd lng="es"><![CDATA[innovación]]></kwd>
<kwd lng="es"><![CDATA[pintura]]></kwd>
<kwd lng="es"><![CDATA[subjetividad colonial]]></kwd>
<kwd lng="en"><![CDATA[Portrait]]></kwd>
<kwd lng="en"><![CDATA[Lima]]></kwd>
<kwd lng="en"><![CDATA[tradition]]></kwd>
<kwd lng="en"><![CDATA[innovation]]></kwd>
<kwd lng="en"><![CDATA[painting]]></kwd>
<kwd lng="en"><![CDATA[colonial subjectivity]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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