The European Discovery of America

The European discovery of America had two major effects on artwork in the world. In the Americas, the European domination of the continent accelerated the decline of native artistic endeavors overall. Fewer artists produced fewer pieces of art and with less elaborate designs than found at the peak of indigenous American empires. In Central America, the Spaniards often destroyed indigenous art and religious structures that contained much of the art and replaced the local temples with Spanish cathedrals. The photo below captures this dynamic in Guatemala. Spaniards sought to reduce the ancient Mayan temples from their previous magnificence to their current decrepit state. Although this temple is now part of a national park, the trees growing from the temple indicate that the building will return to the earth unless drastic preservation measures are implemented soon. (Atlas of World Art, 148-151)

In North America, the experience varied depending on the colonizing power. Some tribes, such as the Creeks, abandoned their culture and adopted British and European techniques in farmin, hoping to assimilate successfully. Others, like the Navajo of northern Mexico, used the new technology introduced by Europeans to pursue weaving as an art rather than simply for useful purposes and which opened up markets for their new woven products. Their weaving went from simple, muted colors, to blankets and cloths with bright colors that adopted Spanish and American designs. In the beginning of European colonization of the Americas, the small European presence depended on favorable trade with the native cultures. Once the population of the Europeans grew, and the native populations declined due to diseases, forced assimilation and the destruction of native cultures increased rapidly—coinciding with a decrease of artistic outputs by native tribes. (Creative Destruction)

European art from the discovery of the New World and for the centuries beyond provide significant information on the beliefs and economics of those exploring the Americas. Often, the art studied, such as the painting below, are supposed to document events and people, rather than serve a purely decorative purpose or a daily functional purpose. The painting of the Manhattan purchase captures the sale of Manhattan for blankets, beads, and trinkets to the Indians. It uses idyllic lighting and soft edges to give the viewer a warm feeling, in significant contrast to the view by many Indians today that the Manhattan purchase was not a purchase but rather theft.

The European discovery of the Americas not only allowed for the rise of truly global trade, but also introduced new sources of materials and inspiration for European artists. Additionally, there was new wealth for many Europeans who profited from new trading boundaries and could now commission art, “The fortune created through intercontinental commercial ventures and military conquests translated into copious artistic commissions.” (Atlas of World Art, 155)

The photo above is The Virgin of the Navigators, by Alejo Fernández which depicts the Virgin Mary as a protector of the men who sought to sail from one continent to another. Painted around 1531, it is one of the first pieces of art to depict the exploration of the Americas. Just as the Virgin Mary towers over all the travelers as a protector, she appears to bless their journey and exploration as well. However, the painting was commissioned by the Casa de Contratacion (translates to House of Trade), not a church or religious institute. Not only does the painting thus indicate the pervasiveness of religion in Spanish culture, it also indicates the thriving trade industry that could afford to commission art.

Sources/References:
Phillips, Carla Rahn, 16th Century AD, Renaissance Quarterly, 2005


Frank Graziano. Wounds of love, Oxford University Press US, 2004, p. 147


Atlas of World Art, 148-151


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