Oceania and Baroque

Coatlicue, Aztec c. 1487-1520

Machu Picchu, Inka 15th c.

is a book made up of a number of sheets of paper, vellum, or similar, with hand-written content

) located on an island in Lake Texcoco, in the Valley of Mexico. Founded in 1325, it became the capital of the expanding Mexica Empire in the 15th century,[1] until captured by the Spanish in 1521. At its peak, it was the largest city in the Pre-Columbian New World

• is the placement of an image
• or video on top of an already-existing image or video, usually to add
• to the overall image effect, but also sometimes to conceal something
• (such as when a different face is superimposed over the original face in
• a photograph).

• was the largest empire in pre-Columbian America.[3] The administrative, political and military center of the empire was located in Cusco in modern-day Peru. The Inca civilization arose from the highlands of Peru sometime in the early 13th century.
• From 1438 to 1533, the Incas used a variety of methods, from conquest
• to peaceful assimilation, to incorporate a large portion of western
• South America, centered on the Andean mountain ranges, including, besides Peru, large parts of modern Ecuador, western and south central Bolivia, northwest Argentina, north and central Chile, and southern Colombia into a state comparable to the historical empires of Eurasia.

is a region centered on the islands of the tropical Pacific Ocean.[4] Opinions of what constitutes Oceania range from its three subregions of Melanesia, Micronesia, and Polynesia[5] to, more broadly, the entire insular region between Asia and the Americas, including Australasia and the Malay Archipelago.

• In the mythology of Mangaia in the Cook Islands, Moko is a wily character and grandfather of the heroic Ngaru.[1]
• Moko is a ruler or king of the lizards, and he orders his lizard subjects to climb into the basket of the sky demon Amai-te-rangi
• to spy on him. When Amai-te-rangi pulls up his basket, he is
• disappointed to find it full of miserable little reptiles, which escape
• and overrun his home in the sky.[1]

s a political and religious doctrine of royal and political legitimacy. It asserts that a monarch is subject to no earthly authority, deriving the right to rule directly from the will of God.

is the building style of the Baroque era, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church and the absolutist state. It was characterized by new explorations of form, light and shadow and dramatic intensity.

less commonly roccoco, also referred to as "Late Baroque", is an 18th-century artistic movement and style, which affected several aspects of the arts including painting, sculpture, architecture, interior design, decoration, literature, music and theatre. The Rococo developed in the early part of the 18th century in Paris, France as a reaction against the grandeur, symmetry and strict regulations of the Baroque, especially that of the Palace of Versailles.

• French term referring to some of the celebrated pursuits of the idle,
• rich aristocrats in the 18th century—from 1715 until the 1770s.[1] After the death of Louis XIV
• in 1715, the aristocrats of the French court abandoned the grandeur of
• Versailles for the more intimate townhouses of Paris where, elegantly
• attired, they could play and flirt and put on scenes from the Italian commedia dell'arte. The term translates from French literally as "gallant party". It is closely related to, and may be considered a type of, fête champêtre.

• was a cultural movement of intellectuals in the 17th and 18th centuries, which began first in Europe and later in the American colonies.
• Its purpose was to reform society using reason, challenge ideas
• grounded in tradition and faith, and advance knowledge through the scientific method. It promoted scientific thought, skepticism and intellectual interchange and opposed superstition,[1] intolerance and some abuses of power by the church and the state.

• The Poussinistes defended Poussin's
• view that drawing appealed to the mind and was superior to color, which
• they believed appealed to the senses. They were opposed by the Rubénistes
• who believed that color, not drawing, was superior due to its being
• more true to nature. Drawing was, according to the Rubénistes, based on
• reason and only appealing to the few experts whereas color could be
• enjoyed by everyone. This challenged the notions of the Renaissance when only the educated were believed to appreciate art. (Janson, 584)

• Raharuhi Rukupo and others, interior
• of Te Hau-ki-Turanga meetinghouse, Polynesia,
• 1842-45 with details

• Men’s ceremonial house, (bai) from Belau
• (Palau), Micronesia

• Dilukai, from Belau (Palau),
• Micronesia, late 19th or early 20th century

• Tattooed warrior with war club, Nukahiva,
• Polynesia, early 19th century

Rigaud, Louis XIV 1701

• Mansart and Le Brun, Galerie de Glaces
• (Hall of Mirrors) Versailles c. 1680

Poussin, Et in Arcadia Ego c. 1655

Watteau, Pilgrimage to Cythera 1717

Fragonard, The Swing 1766

Chardin, Saying Grace 1740

• Wright of Derby, A Philosopher Giving
• a Lecture at the Orrery c. 1763-1765