38
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

Foreign Faces, Trusted Portraits: Carlos Baca-Flor’s Painted Faces between Paris and New York

Pages 403-426 | Received 21 Sep 2021, Accepted 15 Dec 2022, Published online: 05 Oct 2023

References

  • Barnes, Victoria, and Lucy Newton. 2017. “Constructing Corporate Identity before the Corporation: Fashioning the Face of the First English Joint Stock Banking Companies through Portraiture.” Enterprise & Society 18 (3): 678–720. https://doi.org/10.1017/eso.2016.90
  • Betts, R. F. 2005. Assimilation and Association in French Colonial Theory, 1890-1914. Lincoln: University of Nebraska Press.
  • Bode, Wilhelm. 1902. “Die amerikanische Konkurrenz im Kunsthandel und ihre Gefahr für Europa.” Kunst Und Künstler, 1: 5–12.
  • Boeckmann, Cathy. 2000. A Question of Character: Scientific Racism and the Genres of American Fiction, 1892-1912. Tuscaloosa: University of Alabama Press.
  • Canyameres, Ferrán. 1980. Carlos Baca-Flor. Caldas de Montbuy: Agut Editor.
  • Chernow, Ron. 1990. The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance. Boston: Grove Press.
  • Clark, T. J. 1985. The Painting of Modern Life: Paris in the Art of Manet and His Followers. New York: Knopf.
  • Coffey, Mary K. 2020. “José Clemente Orozco’s Dancing Indians: Performing Mexicanness for the Trans-American Market.” The Art Bulletin 102 (4): 90–120. https://doi.org/10.1080/00043079.2020.1765637
  • Conklin, Alice. 2013. In the Museum of Man: Race, Anthropology, and Empire in France, 1850-1950. Ithaca: Cornell University Press.
  • Cozart, Daniel S. 2017. “Afro-Peruvian Creoles: A Social and Political History of Afro-Descended Peruvians in an Era of Nationalism and Scientific Racism.” PhD Diss., University of New Mexico.
  • Delboy, Emilio. 1941. Carlos Baca-Flor: Dos crónicas y una charla. Lima: Sanmartí y Cía Impresores.
  • de la Cadena, Marisol. 2000. Indigenous Mestizos: The Politics of Race and Culture in Cuzco, Peru, 1919-1991. Durham, NC: Duke University Press.
  • DeGuzmán, Maria. 2005. Spain’s Long Shadow: The Black Legend, off-Whiteness, and Anglo-American Empire. Minneapolis: University of Minnesota Press.
  • Flores, Tatiana. 2021. “‘Latinidad is Cancelled’: Confronting an anti-Black Construct.” Latin American and Latinx Visual Culture 3 (3): 58–79. https://doi.org/10.1525/lavc.2021.3.3.58
  • Fowler & Wells Co. 1901. “Correspondence.” The Phrenological Journal 112 (1): 34.
  • Greet, Michele. 2018. Transatlantic Encounters: Latin American Artists in Paris between the Wars. New Haven: Yale University Press.
  • House Committee on Banking 1913. Pt.1-10; Hearings of May 16 to December 12, 1912, Money Trust Investigation. Washington, DC: U.S. Government Printing Office.
  • Hudson, Peter James. 2017. Bankers and Empire: How Wall Street Colonized the Caribbean. Chicago: University of Chicago Press.
  • Jochamowitz, Alberto. 1941. Baca-Flor, hombre singular: Su vida, su carácter, su arte. Lima: Imprenta Torres Aguirre.
  • Kirstein, Lincoln. 1943. The Latin-American Collection of the Museum of Modern Art. New York: The Museum of Modern Art.
  • Kuenzli, Gabrielle. 2013. Acting Inca: Identity and National Belonging in Early Twentieth Century Bolivia. Pittsburgh: University of Pittsburgh Press.
  • Kusserow, Karl. 2013. Picturing Power: Portraiture and Its Uses in the New York Chamber of Commerce. New York: Columbia.
  • Kusunoki, Ricardo, Natalia Majluf, and Luis Eduardo Wuffarden. 2013. Carlos Baca-Flor: El último académico. Lima: Asociación Museo de Arte de Lima.
  • Le Bon, Gustave. 1898. The Psychology of Peoples. New York: Macmillan Company.
  • Lewis, E. S. E. 1908. Financial Advertising: For Commercial and Savings Banks, Trust, Title Insurance, and Safe Deposit Companies, Investment Houses. New York: Levey Bros.
  • Majluf, Natalia. 1997. “Ce n’est pas le Pérou,’ or, the Failure of Authenticity: Marginal Cosmopolitans at the Paris Universal Exhibition of 1855.” Critical Inquiry 23 (4): 868–893. https://doi.org/10.1086/448857
  • Majluf, Natalia. 2021. Inventing Indigenism: Francisco Laso’s Image of Modern Peru. Austin: UT Press.
  • McCormick, L. H. 1920. Characterology; an Exact Science Embracing Physiognomy, Phrenology and Pathognomy. New York: Rand McNally.
  • Mejía Ticona, Victor. 2016. “Espacio público y representación. El principal monumento a José de San Martín en el Perú (1904-1921).” Anales del IAA 45 (2): 181–196.
  • Molesworth, Charles. 2016. The Capitalist and the Critic: J. P. Morgan, Roger Fry, and the Metropolitan Museum of Art. Austin: University of Texas Press.
  • Noiriel, Gérard. 1996. The French Melting Pot: Immigration, Citizenship, and National Identity, Contradictions of Modernity. Minneapolis: University of Minnesota Press.
  • Pak, Susie. 2013. Gentlemen Bankers: The World of J.P. Morgan, Cambridge, Massachusetts: Harvard University Press.
  • Peck, Robert McCracken. 1977. “Influential Image: Edward Steichen’s J. P. Morgan.” Image 20 (2): 32–38.
  • Saunders, Richard. 2016. American Faces: A Cultural History of Portraiture and Identity. Hanover: University Press of New England.
  • Schack, S. 1887. La physionomie chez l’homme et chez les animaux dans ses rapports avec l’expression des émotions et des sentiments. Paris: Baillière.
  • Sogolo 1896. Étude sur les croisements humains: métis, mulâtres et zambos. Chartres: Imprimerie de l’Union Agricole.
  • Stevens, LaVergne Belden. 1893. Faciology: Human Nature, Brains and Forms, the Science of Character. Chicago: Donohue, Henneberry & Company.
  • Strouse, Jean. 2014. Morgan: An American Financier. New York: Random House.
  • Tucker, Abigail. 2011. “Cutthroat Capitalist.” Smithsonian 41 (9): 6–8.
  • Walsh, Sarah. 2015. “One of the Most Uniform Races of the Entire World’: Creole Eugenics and the Myth of Chilean Racial Homogeneity.” Journal of the History of Biology 48 (4): 613–639. https://doi.org/10.1007/s10739-015-9403-x
  • Villegas Torres, Fernando. 2010. “La escultura en el 900: entre la obra europea importada y la formación de la escultura nacional.” Revista del Museo Nacional Lima: Ministerio de Cultura, 50: 211–245.
  • Villegas Torres, Fernando. 2016. “Carlos Baca-Flor, primer pintor moderno y su vinculación con los artistas españoles.” Illapa 9 (9): 57–73.
  • Zamora, Sylvia. 2022. Racial Baggage Mexican Immigrants and Race across the Border. Redwood City: Stanford University Press.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.