Art critic, historian and journalist Anita Brenner () is Idols Behind Altars is her influential historical and critical study of modern. Title, Idols Behind Altars. Author, Anita Brenner. Edition, illustrated, reprint. Publisher, Biblo & Tannen Publishers, ISBN, X, User Review – Flag as inappropriate. Hardcover. No DJ. Possible first edition. Part of DJ glued to inside cover. Edges of spine are a little tattered.

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Idolz could see many an infant tied like a little dog by one foot. The young man must not play pranks after he has attained his manhood. The temple contained all that was dearest, and was itself the beginning and end of the day. And what obli- gation have these unhappy, annihilated, impoverished beings, poorer of goods and possessions as never before in the universe, or in these Indies was known Other editions – View all Idols Behind Altars: Each colour, sky, earth, bush, is an absolute value, primary and con- trasting or complementing, coming to an edge, not a blend, with the others.

Whatever its antecedents, ancient America stands on its own feet.

Full text of “Idols behind altars / Anita Brenner.”

And still the Spaniards fol- lowed them to the top of the temple and hunted for living among the dead. There may be brener of him at once. We sacked the city but found nothing of value, since they had taken or hidden it all.

Some of the captains wanted more gold, and other loot. It was one of the first aktars to afford Mexican art the same serious considerations as European and Asian art and remains indispensable for anyone interested in the subject. Cara Pico marked it as to-read Oct 07, The copious mob did not have room in the dungeons. Great curved stone bodies embrace the walls, give them movement, poise, balance; fanged heads rise upright, thrust from the stones, rise on coils; flank and hang on the stairways; accentuate, remind, repeat, stamp indelibly the sense of the continued, multiform, brennrr presence of Quetzalcoatl.


Therefore the pioneer temples were decorated in this manner. Black print in white is seen Truth appears out of lies, The fat man may turn quite lean And the live man usually dies. Little flags fly from the mounds; sometimes arcades and booths are raised over them, as upon holiday nehind.

Idols Behind Altars: Modern Mexican Art and Its Cultural Roots – Anita Brenner – Google Books

The chief symbol of this reassurance inhabits all the buildings. The Tarascan share, in southwest central Mexico, grew to armful size in burnished maroon, red, orange, terra cotta; but retained idolx “archaic” mood. The Tepozton, like the Teutli of Milpa Alta, like the Lord of Chalma, like the long-haired mourning Malintzin, “is a powerful person; but what he has of bad he has of good, too.

The walls were decorated with painted friezes of calabash blossoms and sheaves of maize. The Zapotecs, who send to market today amusing little black monkeys and madonnas made into bells, and the ancient fishes and frogs and birds, made then black clay gods and funeral urns at the most two and three feet high, but impressive as any monument, and loaded with complex and intricate symbolic detail; inversely, they built temples decorated bhind stone mosaic altard unending, sim- ple patterns such as those on the rims of bowls and the hems of women’s garments.


Idols Behind Altars: Modern Mexican Art and Its Cultural Roots

They die by violence or neglect, be they people, ideas, or forms. Always he must die, always return. They break through into great subterranean pools called cenotes, which are the sacred wells, ancient bowls of sacrifice, sinister oases arched to land-level with a altafs tangle of tropical plants, feeding limp orchids and parrakeets.

The tribute consisted often more of things unique than of things valuable — the sweetest flowers, the finest vases, a curiously-wrought jewel. The Old Maya Empire was gone about the yearand now it is swallowed by jungle.

There is never lacking among the natives some one to arouse them. A place easy to leave and hard to take, indeed a gracious sweep with brilliant stars at night.

It is a land that has lain naked and bleeding, bshind people that has lived in pain. And Cortez branded many men and women with the ania of the king. Each work of art was deeply interesting to all; it was the most interesting thing there was.

He came to the foot of an ahuehuete tree and there saw a warrior who was sick.

He wanted both courts impressed with the courage and drive displayed by himself and his men. And so a village with twenty or thirty children under two or three years of age. The warriors followed the paths the traders made.

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