Abstract
About 1540, the Portuguese painter and theorist Francisco de Holanda reflected on the artworks created in Africa, Asia, and the Americas. He had seen many of those artworks reaching Portugal, Spain, France, and Italy, where he extensively traveled. His response was revolutionary—and remains so. For Holanda, the arts made in previously unknown “antipodes” invalidated the notion that artistic excellence is transmitted, thus redefining art as potentially universal in space and time. The arts from the “antipodes,” relevant to any artist and any reflection about art, prompt today an art history of the universal, centered on the processes of universalization.
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