Road Side Sanctuaries, Argentina
Topic: Religious Art

De Vinci Code a missed Chapter file
Topic: Religious Art

Amazing finding by experts while restoring a church, De Vinci Code Chapter missed Chapter file

It is no novelty that Argentina’s early 20^th century architecture is amongst the world’s most interesting ones, not only because of its beauty and mastership, but mainly because the southern argentine location, far from the aesthetic dogma of the Old Continent, offered a place in which ingenious artists managed to add new and significant meaning to the Scholar lines.

The Historical Church of San Francisco, located at the intersection of Alsina st. and Defensa st. is among the most important religious temples of our city. It was built back in 1908 by an artist known as Voegele, of whom we knew very little till yesterday.

The basilica’s sculptural center group is undergoing a restoration process carried on by local art experts. And yesterday, what seemed to be a regular day of work turned out to be a day of new knowledge and amazing findings.

Until the moment of this discovery, the only thing we knew about the church’s sculptures was the name of the artists, now we know that he crafted the figures of St Francis, Christopher Columbus, el Giotto and Dante. Voegele arrived to Buenos Aires when he was only 22 years old, back in 1882, and left a valuable legacy…

The finding of the new information took place when a 29 year old restorer, Hernan Arduca, was working on the Dante’s head and realized that the sculpture was whole, and inside was a little treasure, a wink the artist had left for the generations to come...

The treasure found was a glass jar, inside of which was a tin tea box tided with a couple of strings, the content of the box was a handwritten letter addressed “to whom may find this writings”, four copper cent coins from 1880-90 argentine currency, a couple of pages of La Prensa form August 2^nd 1908, as well as a newspaper from Innsbruck, the artist’s hometown, dated on July 7^th 1908.

The letter detailed the costs, materials and names of the architects who participated in the assembling of the sculpture, and closed with a prayer like salute “hoping that God and St Francis protect this work and give it a long existence”.

The practice of hiding messages within their works of art was part of a long tradition among the artists of the world. From the Cusqueña school artists who included mythological Inca gods in Religious Catholic paintings onwards, the artists have always managed to say a little more in their works, that what’s immediately evident.

The restorers, after giving the matter some thought have come to an agreement, and in two weeks when the restoration is completed, they will follow upon the tradition and leave another legacy inside the head, featuring costs of the work, personal information on the restorers and some kind of personal artifact that will remain inside until next restoration…

                     
Saint Francis of Assisi, found in Argentina

 

Interested in Religious Art? Press here to Religious Art:For there wasn¿t just a one way influence in this sort of art, especially if we take into consideration a very important fact, that being that the great majority of Colonial artists were local aborigines from the great convents of the area. Syncretism is the key word here. If looked at carefully, Colonial religious art might on the surface be similar to European baroque or renaissance, but from a closer approach there¿s a great number of details such as the local scene, animals, physical stereotype, etc, that emerge from the so called European imposed technique.

Religious Painting of South America & Argentina

     
Road Side Sanctuaries, Argentina
Bob Frassinetti. Copyright 2005. Roberto Dario Frassinetti. Argentina.

Recoleta Cemetery Buenos Aires
Topic: Religious Art
PART 2

The late 1800 century, and the welcoming of the new century were reflected upon the society world of Argentina and more specifically Buenos Aires. Recoleta had turned into the epicenter of culture and wealth, and the cemetery had grown to become a sign of top notch eternal rest.



             
Recoleta Cemetery Argentina

If we could trace a comparison with some other world wide cemetery at the time -and even to our days- where the superb architecture and art expressions create a one of a kind environment as it becomes eternal home for our beloved ones to rest in peace, the first one that comes to my mind is that of New Orleans. Sharing a similar burial style, decoration and style, these cemeteries’ history and evolution are far from being identical. One key factor in any burial style related analysis is tied to the cultural aspect of the people’s relationship with death and the social treatment addressed to this matter. In this line of argumentation, it’s important to highlight the particular bond Latinos have with death [1] and the aftermath.

Latin love in the sense of the passion and social expression can easily be discovered in these people’s relation with death in a sort of fetishism.

Whilst the New Orleans cemetery trace and style is a practical, yet aesthetic and socially sophisticated, it’s response to a specific problem within the area’s characteristics and soils; the Recoleta Cemetery’s luxury, vaults and niches represent, on the other hand, an intrinsically social way of dealing with death by the upper classes. The fact that Buenos Aires exhibits an above ground burial system is linked to social status and standards, not sanitation elements as it does happen in New Orleans. Indeed it was a special way to deal with death in both cases, but with different roots; while ones were trying to find the best way in order for the dead to finally rest in peace and not to be disturbed by social catastrophes, the other is the response to a cultural need of setting themselves apart from the society as a whole, exhibiting their exceptionality in life all the way up to eternity. Wealth and society ties were sumptuously expressed in each of the family’s parcels, their style and architecture, while at the same time these aesthetic and cultural inputs are the frame for a special relation with the aftermath. The cemetery and more specifically the family parcel and construction behave as an ode to the living family through means of the deceased; it’s a double tribute in essence.

However, not even in social paradise is everything rose-like perfect. History does not evolve in one sense, power and wealth are not static… and behind those monuments and tributes are hundreds of untold stories of raising and fallen idols, mysteries and scandals.

It’s of public domain, that at this point there’s no further space within the cemetery for new constructions; and while some of the traditional families still maintain their parcels and vaults, some others who have fallen into disgrace, found themselves in the position of not being able to conserve their privileged gate to eternity. Indeed this is not a rare thing to happen, however, the way it’s resolved is quite interesting.

Some families rent their vaults and “mausoleums” per the day and the hour, for those who, in a delicate financial, are unable to sustain the luxury forever… Someone once said: The show must go on… and it looks like this is what former upscale families do for the burring ceremony, once over, the deceased is relocated in another graveyard more accordingly to their current status.

All and all, apart from the way this social sector deals with its own history, the cemetery’s history and stories exceed the aftermath world. This cemetery featuring just 4 blocks beholds over 6,000 sepultures… More than 70 of its vaults were declared National Historical Monument and the cemetery itself was declared such in 1946 due to the illustrious individuals resting there, as well as its outstanding architecture and sculpture quality.

The fact that this is a public and historical monument has opened a social world exceeding that of the relatives, and a public appropriation of the social space. The cemetery is daily visited by hundreds of illustrious anonymous individuals (for each and every person is important and marvelous) from world wide tourists with their digital cameras, to urban gothic tribes and “darkies”, to artists of all kinds as well as curious individuals.

There are some who find this place so deeply interesting and appealing, that recently the city of Buenos Aires organized a literary night tour and cultural session within the cemetery’s boundaries. The event did not pass unnoticed… eyebrows –and much more- were raised upon such an event taking place in such a location… The organizers replied that avant-garde cultural movements are usually discredited in their time. I can come with a parallel, once again with the New Orleans cemetery: location to the fabulous film Easy Rider, this holly place beheld one of the 5th art modern breakthroughs when they showed for the first time people getting high in a film…
The debate is open, it has been for a long time now, and there are no certain answers to the social role these sorts of fascinating cultural monuments play in society. The only thing we’re sure is that it hasn’t gone unnoticed… Thanks god.



[1]For a detailed work on this matter check St. Death, article written by Bob Frassinetti. Press here to read more as well as information on our tours:The cult to Saint Death in the northeast area of the Argentine Republic and southern Paraguay is a reality. This is obviously a pagan cult, for there’s no such thing as Saint Death within the Catholic Santeria. This specific cult –as many other religious re signification processes- emerged after the Jesuit companies were expelled from the northeast region of Argentina and southeast region of Paraguay in 1767. St Death, St Ceoneo and the Lord of the column were invented by the aborigines of the area after the Jesuit exile. .





Interested in buying antiques and collectibles from Buenos Aires or for that matter any other item that I have mentioned in any article you have found on this my web site, you can buy Toys from my museum and threw eBay, threw the Toy Museum on eBay press here; Toy Museum on eBay and threw The Buenos Aires ArtDealer, press here; Art Dealer on eBay From Art to Antiques. Or contact me direct. For more information :Email Bob Frassinetti. Press here to go to The Buenos Aires Art Dealer is a webzine magazine on Art, Antiques & Collectibles made or found in Argentina. The Buenos Aires ArtDealer, Argentina.



         
Kaiser Funeral Car made in Argentina.
Bob Frassinetti. Copyright 2005. Roberto Dario Frassinetti. Argentina.

Recoleta Cemetery Buenos Aires
Topic: Religious Art
The story behind Buenos Aires most famous cemetery

PART 1


Recoleta Cemetery Buenos Aires Photo Image Gallery:

                                             
Recoleta Cemetery Buenos Aires


It's not very often that a Cemetery would feature as a touristy must-see, but the necropolis at Recoleta is an astonishing exception to the rule. Recoleta is Buenos Aires ritziest and wealthiest neighborhood, with superb old mansions along the Avenida Alvear. Nowhere is this elitism better displayed than at the resting ground of the rich and famous at the Recoleta Cemetery.
Recoleta Cemetery houses for their eternal rest most of Argentina’s forefathers and outstanding public celebrities as well as politicians.
Its refined architecture invites us to discover its history and hidden stories at the time we marvel out of the superb aesthetic. In many ways this very non traditional - though Traditional in the sense of society traditions- graveyard offers a fabulously achieved synthesis between History and Art.
Having earned a well recognized spot among the most interesting cemeteries of the world, along with those in the UK and France, Recoleta Cemetery beholds culture in its broader sense. Its perfectly planned internal streets lead us into a journey of history, art; while at the same time open the door to tell us the story of the city thru some of its finest citizens. The many mausoleums exhibit variety of sculpture styles that prove in many ways the pass of time as well as the timeless value of highly achieved craftsmanship.
As it usually happens with great historical sites, the story behind the creation of the Recoleta Cemetery is filled with outstanding historical characters of great names and key roles in the local history.
The lands in which the cemetery is located were property of Don Juan de Garay, founder of the city of Santa Maria de los Buenos Ayres that would latter be known as plain Buenos Aires. Don Juan de Garay gave [1] these lands to Don Rodrigo Ortiz de Zarate one of his best men at arms in the expedition that led to the foundation of the city. Don Rodrigo’s Ranch was known as Los Ombues, due to the great set of these traditional Argentine trees in the area. This first ownership took place in 1583, and until the early years of the 19th century, the place remained a private secular property.
It was then when the upscale society marriage of Don Fernando de Valdez e Inclan and Do?a Guerrera y Hurtado, became the owners of the Ombues, and due to their deep devotion to the Catholic Church, they chose to donate some of their lands to build a convent. Whilst, another nearby neighbor donated some of his lands to build a church, christened Nuestra Se?ora del Pilar. It was then when the now truly devoted area, began to exhibit a religious feel.

The Recoleta friars were the religious order in charge both of the convent and the Church. Following the catholic tradition, the friars buried the Christians in the surrounding land around the church. This was the first hint to a Recoleta Cemetery, for the church’s graveyard was managed by the Recoleta Catholic order.

Time went by and the population in the Northern area of the city grew at a superb rate, this was no longer a Ranch area, but more of a sophisticated upper class quarter. The Porte?an society lived in luxury and opulence and required a graveyard to the standards…

Soon came the Independence revolution. Argentina was to become a nation and the nation was to be built under strong principles. The Recoleta as a catholic order, left Argentina and returned to their motherland… their lands were set apart by General Marin Rodriguez, Don Bernardino Rivadavia’s ministry, to work as the first public cemetery in Argentina in November 17th 1822. Only 24hs after the order, the first two honorable burials took place Juan Benito and Maria Dolores Maciel.

The first blueprints were traced by Engeneer Prospero Catelin. There were differential burials and niches, per period, to eternity and some others were reserved for outstanding government personalities.
The Recoleta cemetery was born then. In 1881, under the directions of Don Torcuato de Alvear - who would also be the man in charge of modernizing the facade of Buenos Aires, turning up the 19th century French like feel the city still beholds to the present- would remodel the cemetery with Architect Juan Antonio Buschiazzo.

The cemetery began to be the monument to society and eternity that it is today, but it was just the beginning.


To be continued in PART 2



[1]This was a very common tradition within the expedition companies, for the soldiers and men at arms received no pay for their services until final conquest and take of possession of the land “discovered”.

More information on my Religious Tours: Press here to go: Updates on Shrines and Religions Tours for Buenos Aires,Argentina.





Interested in buying antiques and collectibles from Buenos Aires or for that matter any other item that I have mentioned in any article you have found on this my web site, you can buy Toys from my museum and threw eBay, threw the Toy Museum on eBay press here; Toy Museum on eBay and threw The Buenos Aires ArtDealer, press here; Art Dealer on eBay From Art to Antiques. Or contact me direct. For more information :Email Bob Frassinetti. Press here to go to The Buenos Aires Art Dealer is a webzine magazine on Art, Antiques & Collectibles made or found in Argentina. The Buenos Aires ArtDealer, Argentina.



Religious Ceremonies
Bob Frassinetti. Copyright 2005. Roberto Dario Frassinetti. Argentina.

Religious Painting in South America & Argentina
Topic: Religious Art
Religious painting and the history of the South American people.......

The South American subcontinent at the moment of the Spanish conquest was populated by an extremely developed civilization, the Incas.

Not only were the Incas south America’s largest and strongest Empire in economic terms, but specially in political-religious ones. The homogeneity of this dominant culture can be perfectly appreciated in these people’s artwork. The artistic conception prevalent was by far a very developed one, featuring not only a master domain of technique and appliances, but also a complex aesthetic conception of abstraction, reflection of reality and view of the world. Sacred art was –as in every historical culture before modernity- the main theme, whereas society as a whole was reflected from a religious point of view.

In the Andes region were the Inca Empire developed all the way from Santiago de Chile thru the North West Argentine provinces, Peru, Bolivia, all the way to Ecuador, the main artistic means of expression were frescos, stone engraving, and paint on sacred vases or such.

A second moment within this area’s artistic development will be the one that breaks through the evolution continuity that had prevailed in the region with the Spanish military, religious, political and economic conquest. Spaniards brought with them their conception of Art and aesthetics, techniques and products. By far the turning point is the canvass, for it did not exist in the region prior to the Spanish arrival.

The conquest implied a domain not only of the politics and economy, but also of the mind and hopefully of the soul, hence, the sacred aboriginal art of yore was displaced from under the spotlight and replaced with Catholic religious art. This displacement is frequently addressed as trans-cultural-ication, for all the ancient techniques and styles were doomed to disappear from the scene, outcast by European styles mainly from Flanders and Spain. The most influencing styles were Renaissance and Mannerism.

But we shouldn’t be deceived by this apparently sole domain of Europe’s fine art styles and techniques. For there wasn’t just a one way influence in this sort of art, especially if we take into consideration a very important fact, that being that the great majority of Colonial artists were local aborigines from the great convents of the area. Syncretism is the key word here. If looked at carefully, Colonial religious art might on the surface be similar to European baroque or renaissance, but from a closer approach there’s a great number of details such as the local scene, animals, physical stereotype, etc, that emerge from the so called European imposed technique.
During the last century of the colonial domain, a new sort of art would emerge from the lower social status group that would be a style much more marked by the aboriginal past, evident in the choosing of color, style and motifs, as well as in technical style for being these artists further away of the orbit of the European power, the school lines would be much more freely in interpretation.

Decorative and descriptive, brighter and larger, these interpretations will transcend the Colony into the Independent times as a specific style of new nation art.

Dating these sorts of paintings is indeed complicated, but one clear indication that stands upon the more technical aspects is a theme variation. While during the Colony religious art was very much linked to the church as an institution and its Saints, the Independent period religious art tends to reflect religion from a custom like point of view, known as Costumbrismo.

See Image Gallery for Religious Painting:

                           
Religious Painting of South America & Argentina


See Image Gallery for Saint Francis found in Argentina:

                     
Saint Francis of Assisi, found in Argentina

NOTE: We will soon post the second part to this research on Argentine traditional religious art. Please feel free to contact us requesting any specific style or artist, for we will work aiming to provide articles as through as possible.


Press here to read all about our Religions Tours
& Popular shrines… one story on Gauchito Gil.The Cult of Death in Life in Argentina.



Interested in buying antiques and collectibles from Buenos Aires or for that matter any other item that I have mentioned in any article you have found on this my web site, you can buy Toys from my museum and threw eBay, threw the Toy Museum on eBay press here; Toy Museum on eBay and threw The Buenos Aires ArtDealer, press here; Art Dealer on eBay From Art to Antiques. Or contact me direct. For more information :Email Bob Frassinetti. Press here to go to The Buenos Aires Art Dealer is a webzine magazine on Art, Antiques & Collectibles made or found in Argentina. The Buenos Aires ArtDealer, Argentina.



Road Side Sanctuaries, Argentina
Bob Frassinetti. Copyright 2005. Roberto Dario Frassinetti. Argentina.