Columbia University, New York City, New York, United States
Esther Pasztory received her PhD from Columbia University in 1971.
(In Pasztory's iconographic analysis of this deity, she di...)
In Pasztory's iconographic analysis of this deity, she discusses representations traditionally associated with the rain god Tlaloc.Two rain deities in the art of Teotihuacan are also identified: a Crocodile-Tlaloc associated with earth and water, and a Jaguar-Tlaloc associated with water, warfare, and possibly a sacrificial warrior cult.
(This is the first comprehensive book on Aztec art: eleven...)
This is the first comprehensive book on Aztec art: eleven chapters illustrated with seventy-five superb color plates and hundreds of photographs, supplemented by maps and diagrams. Temple architecture, majestic stone sculpture carved without metal tools, featherwork and turquoise mosaic, painted books, and sculptures in terra cotta and rare stones - all are here.
(Depicts art objects from Teotihuacan and discusses resear...)
Depicts art objects from Teotihuacan and discusses research into the culture of the ancient city.
(This volume brings together for the first time the fruits...)
This volume brings together for the first time the fruits of researches that are at last unveiling Teotihuacan. Over a dozen distinguished scholars examine every aspect of the city's culture, from its role as an urban centre, its religion and writing system, to its imposing pyramid-temples and superlative art.
(Naomi is writing a novel set in ancient Mexico and accide...)
Naomi is writing a novel set in ancient Mexico and accidentally turns into her heroine, Marigold. Marigold is on a journey from her home in the city of the pyramids, Teotihuacan, to the Maya city of Tikal. While Naomi experiences Marigolds adventures, including a passion for a mysterious Maya lord, she is also desperate to get back to her own world in Morristown, New Jersey. She discovers the secret of time travel but no longer knows whether she wants to live in the present or the past. And, which man will she choose, the young archaeologist or the ruler of Tikal?
(Pasztory presents her thesis in a two-part approach. The ...)
Pasztory presents her thesis in a two-part approach. The first section of the book is an original essay entitled "Thinking with Things" that develops Pasztory's unified theory of what art is and why we create it. The second section is a collection of eight previously published essays that explore the art-making process in both Pre-Columbian and Western societies. Pasztory's work combines the insights of art history and anthropology in the light of poststructuralist ideas.
(Esther Pasztory sought refuge in the United States after ...)
Esther Pasztory sought refuge in the United States after the 1956 anti-communist revolution in Hungary. Her memoir chronicles the difficulty of straddling two cultures both personally and professionally and Pasztory's escape into a third, ancient culture where she felt her spirit was free to roam. Interweaving her work with the Aztec and Incan history with her past experiences in Hungary and her present life in America. Her story will appeal not only to readers who wrestle with their dual heritage but also to historians who seek an intimate account of post-communist Hungary.
(One of the first artists to visit the Mayan ruins at Pale...)
One of the first artists to visit the Mayan ruins at Palenque after Mexican independence, Jean-Frederic Waldeck has long been dismissed as unreliable, his drawings of pre-Columbian art marred by his excessive interest in European styles of beauty. With this fresh look at Waldeck's entire output, including his desire to exhibit at Paris salons, his reconstructions of Mayan and Aztec subjects can be understood as art rather than illustration. Pasztory sees him as a unique Neoclassicist who has never been fully appreciated.
(A wonderful book about the myths and theories, some plaus...)
A wonderful book about the myths and theories, some plausible and some preposterous, that have accumulated over the ages about the origins of the peoples of ancient America.
Esther Pasztory received her Ph.D. from Columbia University in 1971. She started out in African art with Paul Wingert, Douglas Fraser, and Hans Himmelheber as teachers at Columbia University. Her Master’s essay explored the role of flanking figures in group scenes in West African art.
After receiving Ph.D. from Columbia University Esther began to teach at Columbia. She was a Visiting Professor at UCLA in Los Angeles.
Pasztory’s first two books explored art from the city of Teotihuacan, which flourished from approximately 450 to 650 A.D. but was destroyed around 700 A.D. Relatively little is known about the people who built this city, and their art differs in significant ways from that of most other Mesoamerican cultures. In The Iconography of the Teotihuacan Tlaloc and The Murals of Tepantitla, Teotihuacan, Pasztory considered a topic of great interest to specialists in Mesoamerican art and culture.
Pasztory’s third book is a compilation of essays from a 1973 symposium on pre-Columbian art history at Columbia University. Middle Classic Mesoamerica, A.D. 400-700 was published in 1978. Critics viewed the volume as a work that was certain to generate much debate. A reviewer for Choice also considered Middle Classic Mesoamerica a work that would generate debate, but found more to praise in its collection of articles, including “some exceedingly interesting new ideas about the origins of both the Maya and the Teotihuacan empires.” Adrian Digby, in The Antiquaries Journal, expressed a similar view, noting that several of the book’s essays were “controversial,” but not all were fully convincing, although the book’s “basic conception is sound and is a big step forward.”
In her next book, Pasztory shifted focus slightly to concentrate on the Aztec empire. A contributor to Library Journal gave the book high praise, citing its “fine text” that is “of interest to professional scholars” and “accessible to students and general readers” as well.
In another critically respected overview, Pasztory deals with the entire subject of pre-Columbian art. Library Journal reviewer Sylvia Andrews found PreColumbian Art “beautifully illustrated,” clearly written, and filled with “intriguing conclusions.” Andrews especially admired Pasztory’s comparison of different Mesoamerican cultures and her use of artistic evidence to theorize about the beliefs of these cultures.
Her Daughter of the Pyramids, a novel set in ancient Mexico and the short Colonial Tales, appeared in 2002. In 2005 she prepared one more her work Thinking with Things.
She retired in 2013. A symposium was held in her honor and a Festschrift was published partly as a book and partly on the web. The book, “Visual Culture of the Ancient Americas” ed. By Andrew Finegold and Ellen Hoobler,( former students), Oklahoma University Press, 2017. She expected to write nothing further on an Ancient American topic after her retirement. She moved from New York to Maine.
In 2016 the BBC contacted Esther to participate in a new series called “Civilizations”.
(One of the first artists to visit the Mayan ruins at Pale...)2011
(This is the first comprehensive book on Aztec art: eleven...)1983
(A wonderful book about the myths and theories, some plaus...)2015
(In Pasztory's iconographic analysis of this deity, she di...)1974
(This volume brings together for the first time the fruits...)1993
(Esther Pasztory sought refuge in the United States after ...)2009
(Depicts art objects from Teotihuacan and discusses resear...)1993
(Naomi is writing a novel set in ancient Mexico and accide...)2002
(Pasztory presents her thesis in a two-part approach. The ...)2005
In Pasztory's work Middle Classic Mesoamerica, A.D. 400-700 she argues for “a three-fold rather than a two-fold division of the Mesoamerican Classic” period, in effect creating a “Middle Classic” period.
In her work Aztec Art, she argues that Aztec culture generated art works that were much more than expressions of mere violence, as was commonly believed. Discovering that certain deities appear exclusively in certain art forms, Pasztory theorized that this occurred because of cultural conflicts between the strictly defined classes: elites, priests, and common people. This highly stratified society, in Pasztory’s view, contributed to an artistic culture that was vigorous and extremely complex.
Esther is married.