Latin American art
is the combined artistic expression of South America, Central America, the Caribbean, and
Mexico
, as well as Latin Americans living in other regions.
The art has roots in the many different
indigenous cultures
that inhabited the Americas before European colonization in the 16th century. The indigenous cultures each developed sophisticated artistic disciplines, which were highly influenced by religious and spiritual concerns. Their work is collectively known and referred to as
Pre-Columbian art
. The blending of Amerindian, European and African cultures has resulted in a unique Mestizo tradition.
Colonial period
[
edit
]
During the colonial period, a mixture of
indigenous
traditions and European influences (mainly due to the Christian teachings of
Franciscan
,
Augustinian
and
Dominican
friars) produced a very particular Christian art known as
Indochristian art
. In addition to
indigenous art
, the development of Latin American visual art was significantly influenced by Spanish,
Portuguese
, and French and Dutch
Baroque painting
. In turn Baroque painting was often influenced by the
Italian masters
.
The
Cuzco School
is viewed as the first center of European-style painting in the Americas. In the 17th and 18th centuries, Spanish art instructors taught
Quechua
artists to paint religious imagery based on classical and
Renaissance
styles.
[1]
In eighteenth-century
New Spain
, Mexican artists along with a few Spanish artists produced paintings of a system of racial hierarchy, known as
casta
paintings. It was almost exclusively a Mexican form however, one set was produced in Peru. In a break from religious paintings of the preceding centuries, casta paintings were a secular art form. Only one known casta painting by a relatively unknown painter,
Luis de Mena
, combines castas with Mexico's
Virgin of Guadalupe
; this being an exception. Some of Mexico's most distinguished artists painted casta works, including
Miguel Cabrera
. Most casta paintings were on multiple canvases, with one family grouping on each. There were a handful of single canvas paintings, showing the entire racial hierarchy. The paintings show idealized family groupings, with the father being of one racial, the mother of another racial category, and their offspring being a third racial category. This genre of painting flourished for about a century, coming to an end with Mexican independence in 1821, and the abolition of legal racial categories.
[2]
In the seventeenth century, The Netherlands had captured the rich sugar-producing area of the Portuguese colony of Brazil (1630?1654). During that period, Dutch artist
Albert Eckhout
painted a number of important depictions of social types in Brazil. These depictions included images of indigenous men and women, as well as still lifes.
[3]
Scientific expeditions approved by the Spanish crown began exploring Spanish America where its flora and fauna were recorded. Spaniard
Jose Celestino Mutis
, a medical doctor and horticulturalist and follower of Swedish scientist
Carl Linnaeus
, led an expedition starting in 1784 to northern South America, the expedition is known as the
Expedicion Botanica de Nueva Granada
. Local artists were Ecuadorean Indians, who produced five thousand color drawings of nature, all being published. The crown chartered expedition whose purpose was scientific recording of the natural beauty and wealth of Nature, was a departure from the long traditional religious art.
[4]
The most important scientific expedition was that of
Alexander von Humboldt
and French botanist
Aime Bonpland
. They traveled for five years throughout Spanish America (1799-1804), exploring and recording scientific information as well as the attire and lifestyles local populations.
[5]
Humboldt's work became an inspiration and template for continuing scientific work in the nineteenth century, as well as traveller reporters who recorded the scenes of everyday life.
In 1818, the
Academy of San Alejandro
in
Havana
,
Cuba
, was founded by Alejandro Ramirez, and the French painter
Jean Baptiste Vermay
, served as the founding director.
[6]
[7]
It is the oldest academy of art in Latin America.
[8]
Historiography of colonial art and architecture
[
edit
]
The history of Latin American art has generally been written by those with training in art history departments. However, the concept of "visual culture" has now brought scholars trained in other disciplines to write the histories of art. As with the history of indigenous peoples, for many years there was a focus on either the pre-Columbian period (
Olmec
,
Maya
,
Aztec
,
Inca
) art production, then a leap to the twentieth century. More recently, the colonial era and the nineteenth century have developed as fields of focus. Visual culture as a field increasingly crosses disciplinary boundaries. Colonial architecture has been the subject of a number of important studies.
[9]
[10]
[11]
[12]
[13]
[14]
Colonial art has a long tradition, especially in Mexico, with there being publications of Manuel Toussaint.
[15]
In recent years, there has been a boom in publications on colonial art, with some useful overviews being published in recent years.
[16]
[17]
[18]
[19]
[20]
[21]
Many works deal exclusively with Spanish America.
Major exhibitions on colonial art have resulted in fine catalogs as a permanent record.
[22]
[23]
[24]
[25]
[26]
[27]
[28]
Gallery
[
edit
]
-
Official portrait of Viceroy
Francisco de Toledo
-
-
Virgin of Carmel Saving Souls in Purgatory,
. Peru. Circle of
Diego Quispe Tito
, 17th century, collection of the
Brooklyn Museum
-
The Marriage of Captain Martin de Loyola to Beatriz Nusta
, detail, c. 1675?1690, Church of la Compania de Jesus, Cuzco, Peru.
-
Our Lady of Bethelem
, Peru, anonymous, 18th century
-
-
Vicente Alban. Spanish woman and her black slave. Quito, 18th century
-
Mestizo, Mestiza, Mestizo
Peruvian
casta
painting, showing intermarriage
within
a casta category. 18th c.
-
Miguel Cabrera
(Mexico)
Casta
painting, From Spaniard and Mulatta, Morisca
. Oil on canvas. Private collection. 18th c.
-
Albert Eckhout
, Tupi (Brazil) dancing, 17th c.
-
Albert Eckhout
African Woman in Brazil, 17th c.
-
Aleijadinho
(Brazil):
Angel of the Passion
, ca. 1799. Congonhas do Campo
-
Alexander von Humboldt
(German) Drawing of volcano and climatic zones
Nineteenth-century
[
edit
]
Gallery ? Foreign artists in Latin America
[
edit
]
Gallery ? Latin American artists
[
edit
]
-
Carmelo Fernandez
(Venezuela). Muleteer and Hat Weaver in Velez. 1850. watercolor. National Library of Colombia
-
Cristobal Rojas
. (Venezuela)
La taberna
. 1887.
-
Arturo Michelena
(Venezuela)
La Joven Madre
1889
-
Angel Della Valle
(Argentina)
The Return of the Malon
(1892)
-
Carlos Morel
(Argentina),
Payada en una pulperia
.
-
Prilidiano Pueyrredon
(Argentina)
A Stop in the Countryside
-
Juan Manuel Blanes
(Uruguay)
Paraguay: Image of Your Desolate Country
(1879)
-
-
Alejandro Ciccarelli
(Chile)
Vista de
Santiago de Chile
desde Penalolen
".
-
Antonio Smith
(Chile)
Cordillera
and Lake. Late 19th c.
-
Juan Francisco Gonzalez
(Chile),
Calle de Limache
. Gonzalez is considered one of Chile's greatest painters.
-
-
Pancho Fierro
,
Afro-Peruvian
artist, Veiled women (
tapadas
) going to church
-
Francisco Laso
(Peru)
The Three Races or, Equality before the Law
-
-
-
Jose Ferraz de Almeida Junior
(Brazil)
Reading Woman
, 1892
-
Pedro Weingartner
(Brazil).
After the Flood
Meseu Nacional de Belas Artes, Rio de Janeiro
-
Victor Patricio de Landaluze
(Cuba)
Cutting Sugar Cane
, 1874
-
Agustin Arrieta
,
El Costeno
. Private collection. The painting shows a boy from the coast, likely Veracruz, holding a basket of fruits including
mamey
,
tuna
and
pitahaya
-
Jose Maria Velasco
(Mexico)
View of the Valley of Mexico
Modernism
[
edit
]
Modernism
, a Western art movement typified by the rejection of traditional classical styles. This movement holds an ambivalent position in Latin American art. Not all countries developed modernized urban centers at the same time, so Modernism's appearance in Latin America is difficult to date. While Modernism was welcomed by some, others rejected it. Generally speaking, the countries of the
Southern Cone
were more open to foreign influence, while countries with a stronger indigenous presence such as Mexico, Peru, Ecuador, and
Bolivia
were resistant to European culture.
[29]
A landmark event for Modernism in the region was, the
Semana de Arte Moderna
or
Modern Art Week
, a festival that took place in
Sao Paulo
, Brazil, in 1922, marking the beginning of Brazil's Modernismo movement. "[T]hough a number of individual Brazilian artists were doing modernist work before the Week, it coalesced and defined the movement and introduced it to Brazilian society at large."
[
citation needed
]
Constructivist movement
[
edit
]
In general, the artistic
Eurocentrism
associated with the colonial period began to fade in the early twentieth century, as Latin Americans began to acknowledge their unique identity and started to follow their own path.
From the early twentieth century onward, the art of Latin America was greatly inspired by
Constructivism
.
[
citation needed
]
It quickly spread from Russia to Europe, and then into Latin America.
Joaquin Torres Garcia
and
Manuel Rendon
have been credited with bringing the constructivism to Latin America.
[
citation needed
]
After a long and successful career in Europe and the United States, Torres Garcia returned to his native Uruguay in 1934, where he both promoted Constructivism and augmented it into a uniquely Uruguayan movement:
Universal Constructivism
. Attracting a circle of experienced peers and young artists as followers in Montevideo, in 1935 he founded the Asociacion de Arte Constructivo as an art center and exhibition space for his circle. The venue was closed in 1940 due to a lack of funding. In 1943, he opened the Taller Torres-Garcia, a workshop and training center that operated until 1962.
[30]
Muralism
[
edit
]
Muralism or Muralismo is an important artistic movement generated in Latin America. It is popularly represented by the
Mexican muralism
movement of
Diego Rivera
,
David Alfaro Siqueiros
,
Jose Clemente Orozco
, and
Rufino Tamayo
. In
Chile
,
Jose Venturelli
and
Pedro Nel Gomez
were influential muralists.
Santiago Martinez Delgado
championed muralism in
Colombia
, as did Gabriel Bracho in Venezuela. In the Dominican Republic, Spanish exile
Jose Vela Zanetti
was a prolific muralist, painting over 100 murals in the country. The Ecuadorian artist
Oswaldo Guayasamin
(a student of Orozco), the Brazilian
Candido Portinari
, and Bolivian
Miguel Alandia Pantoja
are also noteworthy. Some of the most impressive
Muralista
works can be found in Mexico, Colombia, New York, San Francisco, Los Angeles, Chicago and Philadelphia. Mexican Muralism "enjoyed a type of prestige and influence in other countries that no other American art movement had ever experienced."
[31]
Through Muralism, artists in Latin America found a distinctive art form that provided for political and cultural expression, often focusing on issues of social justice related to their indigenous roots.
[29]
Generacion de la Ruptura
[
edit
]
Generacion de la Ruptura
,
or "Rupture Generation," (sometimes simply known as "Ruptura") is the name given to an art movement in Mexico in the 1960s in which younger artists broke away from the established national style of Muralismo. Born out of the desire of younger artists for greater freedom of style in art, this movement is marked by expressionistic and figurative styles. Mexican artist Jose Luis Cuevas is credited with initiating the
Ruptura
. In 1958, Cuevas published a paper called
La Cortina del Nopal
("The Cactus Curtain"), which condemned Mexican muralism as overly political, calling it "cheap journalism and harangue" rather than art.
[29]
Representative artists include
Jose Luis Cuevas
, Alberto Gironella, and Rafael Coronel.
Nueva Presencia
[
edit
]
Nueva Presencia
("new presence") was an artist group founded by artists
Arnold Belkin
and
Francisco Icaza
in the early 1960s. In response to WWII atrocities such as the
Holocaust
and the atomic bomb, the artists of Nueva Presencia shared an anti-aesthetic rejection of contemporary trends in art and believed that the artist had a social responsibility. Their beliefs were outlined in the Nueva Presencia manifesto, which was published in the first issue of the poster review of the same name. "No one, especially the artist, has the right to be indifferent to the social order."
[30]
Members of the group included
Francisco Corzas
(b. 1936), Emilio Ortiz (b. 1936), Leonel Gongora (b.1933), Artemio Sepulveda (b. 1936), and Jose Munoz, and photographer Ignacio "Nacho" Lopez.
Surrealism
[
edit
]
The French poet and founder of Surrealism,
Andre Breton
, after visiting Mexico in 1938, proclaimed it to be "the surrealist country par excellence."
[30]
Surrealism
, an artistic movement originating in post-World War I Europe, strongly impacted the art of Latin America. This is where the Mestizo culture, the legacy of European conquer over indigenous peoples, embodies contradiction, a central value of Surrealism.
[32]
The widely known Mexican painter
Frida Kahlo
painted self-portraits and depictions of traditional Mexican culture in a style that combines
Realism
,
Symbolism
and
Surrealism
. Although, Kahlo did not commend this label, once saying, "They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality."
[33]
Kahlo's work commands the highest selling price of all Latin American paintings, and the second-highest for any female artist.
[34]
Other female Mexican Surrealists include
Leonora Carrington
(a British woman who relocated to Mexico) and
Remedios Varo
(a Spanish exile). Mexican artist
Alberto Gironella
, Chilean artists
Roberto Matta
,
Mario Carreno Morales
, and
Nemesio Antunez
, Cuban artist
Wifredo Lam
, and Argentine artist
Roberto Aizenberg
have also been classified as Surrealists.
Contemporary Art
[
edit
]
Since roughly the 1970s, artists from all parts of Latin America have made important contributions to international contemporary art, from conceptual sculptors like
Doris Salcedo
(from Colombia) and
Daniel Lind-Ramos
(from Puerto Rico), to painters like
Myrna Baez
(from Puerto Rico), to artists working in media like photography, such as
Vik Muniz
(from Brazil).
Styles and trends
[
edit
]
Figuration
[
edit
]
European classical art styles have made a long-lasting impression on the art of Latin America. Into the twentieth century, many Latin American artists continued to be schooled in the traditional 19th-century style, resulting in a continued emphasis on figurative work. Due to the far reach of figuration, the work often spans upon a number of different styles such as
Realism
,
Pop art
,
Expressionism
, and
Surrealism
, only naming a few. While these artists confront issues that range from the personal to the political, many have a shared interest in indigenous issues and the heritage of European
cultural imperialism
.
One movement devoted to figuration was
Otra Figuracion
(Other Figuration), an Argentine artist group and commune formed in 1961 and disbanded in 1966. Members
Romulo Maccio
,
Ernesto Deira
,
Jorge de la Vega
, and
Luis Felipe Noe
lived together and shared a studio in Buenos Aires. Artists of Otra Figuracion worked in an expressionistic abstract figurative style featuring vivid colors and collage. Although Otra Figuracion were contemporaries of Nueva Presencia, there was no direct contact between the two groups.
[30]
People who are sometimes associated with the group are
Raquel Forner
,
Antonio Berni
,
Alberto Heredia
, and
Antonio Segui
.
Parody and sociopolitical critique
[
edit
]
Art in Latin America has often been used as a means of social and political critique. Mexican graphic artist
Jose Guadalupe Posada
drew harsh images of Mexican elites as skeletons,
calaveras
. This was done prior to the
Mexican Revolution
, strongly influencing later artists, such as
Diego Rivera
.
A common practice among Latin American figurative artists is to parody Old Master paintings, especially those of the Spanish court produced by
Diego Velazquez
in the 17th century. These parodies serve a dual purpose, referring to the artistic and cultural history of Latin America, and critiquing the legacy of European cultural imperialism in Latin American nations. Artists
Fernando Botero
,
Herman Braun-Vega
and
Alberto Gironella
frequently employed this technique.
Colombian figurative artist
Fernando Botero
, whose work features unique "puffy" figures in various situations addressing themes of power, war, and social issues, has used this technique to draw parallels between current governing bodies and the Spanish monarchy. His 1967 painting
The Presidential Family
, is an early example. The painting, echoing
Diego Velazquez
's 1656 Spanish court painting
Las Meninas
(The Maids of Honor), contains a self-portrait of Botero standing behind a large canvas. The thick, "puffy" presidential family, decked out in fashionable finery and staring blandly out of the canvas, appear socially superior, drawing attention to social inequality.
[32]
According to Botero, his "puffy" figures are not meant to be satirical. He painted a powerful series of canvases, which are based on photos of torture by the U.S. military of Iraqi prisoners at
Abu Ghraib
prison.
.
- The deformation you see is the result of my involvement with painting. The monumental and, in my eyes, sensually provocative volumes stem from this. Whether they appear fat or not does not interest me. It has hardly any meaning for my painting. My concern is with formal fullness, abundance. And that is something entirely different.
[29]
Among Peruvian painter
Herman Braun-Vega
, the
appropriation
of works of the old masters is almost systematic from the 1970s.
[35]
The characters he borrows from the iconography of European painting are often confronted with the social and political situation of Latin America.
[36]
In his painting
La lecon... a la campagne (Rembrandt)
in 1984, he takes the scene from
Rembrandt
’s painting
The Anatomy Lesson of Dr. Nicolaes Tulp
, transporting it outside to the countryside and substituting for certain characters from the original painting, contemporary Latin American characters who refer to the social and political situation of South America as confirmed by the texts of the press clippings transfers of the newspaper
Le Monde
which structures the feet of the corpse in the cubist way.
[37]
In 1987, in his painting
Double focus over the West (Velazquez and Picasso)
, he turned
Velazquez
's painting
Las Meninas
into a critic of the power of the Church by replacing the royal couple in the mirror of the back of the room by
Pope John Paul II
receiving
Kurt Waldheim
in the Vatican.
[38]
Among many other examples, we can still cite the painting
Los caprichos del F.M.I. (Goya)
of 2003 where
El Tiempo y las viejas
and some engravings from
Los caprichos
de
Goya
are featured to criticize the sermonizers of the
International Monetary Fund
.
[39]
Mexican painter and collagist
Alberto Gironella
, whose style mixes elements of
Surrealism
and
Pop art
, also produced parodies of official Spanish court paintings. He completed dozens of versions of Velasquez's
Queen Mariana
from 1652. Gironella's parodies critique the Spanish rule of Mexico by incorporating subversive imagery. ‘’La Reina de los Yugos’’ or "The Queen of Yokes" (1975?81) depicts Mariana with a skirt made of upside-down ox yokes, signifying both Spanish dominance over Mexico's indigenous peoples, and those people's subversion of Spanish rule. The yokes are rendered useless by being upturned. "[Gironella's] hallmark was the use of particular Spanish Grocery cans (sardines, mussels, etc.) in his works, and soda bottle caps nailed or glued around the rim of his paintings."
Cuban artist
Sandra Ramos
' paintings, etchings, installations, collages, and digital animation often tackle taboo subjects in contemporary Cuban society such as racism, mass migration,
communism
and social injustices in contemporary Cuban society.
[40]
[41]
Photography
[
edit
]
Photographers captured on film, indigenous peoples as well as distinct social types, such as the
gauchos
of Argentina. A number of Latin Americans have made significant contributions to modern photography.
Guy Veloso
and
Jose Bassit
photograph the Brazilian religiosity.
Guillermo Kahlo
photographed Mexican colonial buildings and infrastructure, such as the railway bridge at Metlac.
Agustin Casasola
himself took many images of the
Mexican Revolution
, and compiled an extensive archive of Mexican photos. Other photographers include indigenous Peruvian
Martin Chambi
, Mexican
Graciela Iturbide
, and Cuban
Alberto Korda
, famous for his iconic image of
Che Guevara
.
Mario Testino
is a noted Peruvian fashion photographer. In addition, a number of non-Latin American photographers have focused on the area, including
Tina Modotti
and
Edward Weston
in Mexico. Guatemalan national
Maria Cristina Orive
has worked in Argentina with
Sara Facio
. Ecuadoran
Hugo Cifuentes
has garnered attention.
Gallery
[
edit
]
See also
[
edit
]
References
[
edit
]
- ^
The "Cusquenha" Art.
Archived
2016-05-05 at the
Wayback Machine
Museu Historico Nacional. (retrieved 30 April 2009)
- ^
Ilona Katzew,
Casta Painting
, New Haven: Yale University Press 2005.
- ^
Dawn Ades, "Nature, Science, and the Picturesque" in
Art in Latin America: The Modern Era, 1820?1980
, London: South Bank Center 1989, 64?65.
- ^
Stanton L. Catlin, "Traveller-Reporter Artists and the Empirical tradition in Post Independence Latin American Art" in
Art in Latin America: The Modern Era, 1820-1980
, London: South Bank Center 1989, pp. 43-45, color plate 3.2 p. 44.
- ^
Alexander von Humboldt,
Voyage de Humboldt et de Bonpland, Premiere Partie; Relation Historique: Atlas Pittoresque: 'Vues de Cordilleres et monuments de peuples indigenes de l'Amerique', Paris 1810
.
- ^
"Fundada la Escuela Nacional de Bellas Artes San Alejandro"
.
La Jiribilla
(in European Spanish). September 7, 2018
. Retrieved
2022-09-20
.
- ^
WPnew (2018-11-27).
"Art Schools: San Alejandro Academy"
.
InterfineArt
. Retrieved
2020-03-25
.
- ^
"Cuban Art: History & Artists"
.
Study.com
. Retrieved
2020-03-25
.
- ^
George Kubler,
Mexican Architecture of the Sixteenth Century
. 2 vols. New Haven: Yale University Press 1948.
- ^
John McAndrew,
The Open-Air Churches of Sixteenth-Century Mexico: Atrios, Posas, Open Chapels, and Other Studies
. Cambridge: Harvard University Press 1965.
- ^
James Early,
The Colonial Architecture of Mexico
. Albuquerque: University of New Mexico Press 1994.
- ^
James Early,
Presidio, Mission, and Pueblo: Spanish Architecture and Urbanism in the United States
. Dallas: Southern Methodist University Press 2004.
- ^
Valerie Fraser.
The Architecture of Conquest: Building in the Viceroyalty of Peru, 1535?1635
. Cambridge: Cambridge University Press 1989.
- ^
Harold Wethey,
Colonial Architecture and Sculpture in Peru
. Cambridge: Harvard University Press 1949.
- ^
Manuel Toussaint,
Arte colonial en Mexico
. Mexico: Universidad Nacional Autonoma de Mexico, Instituto de Investigaciones Esteticas, 1948. 5th edition 1990.
- ^
Damian Bayon and Murrillo Marx,
History of South American Colonial Art and Architecture
. New York: Rizzoli 1989.
- ^
Marcus Burke,
Treasures of Mexican Colonial Painting
. Davenport IA: The Davenport Museum of Art 1998.
- ^
Richard Kagan,
Urban Images of the Hispanic World, 1493?1793
. New Haven: Yale University Press 2000.
- ^
Gauvin Alexander Bailey
,
Art of Colonial Latin America
. London: Phaidon 2005
- ^
Kelly Donahue-Wallace,
Art and Architecture of Viceregal Latin America, 1521?1821
. Albuquerque: University of New Mexico Press 2008.
- ^
Emily Umbeger and Tom Cummins, eds.
Native Artists and Patrons in Colonial Spanish America
.
Phoebus: A Journal of Art History
. Phoenix: Arizona State University 1995.
- ^
Linda Bantel and Marcus Burke,
Spain and New Spain: Mexican Colonial Arts in their European Context
. Exhibition catalog. Corpus Christi TX: Art Museum of South Texas 1979.
- ^
Maria Concepcion Garcia Saiz,
Las castas mexicanas: Un genero pictorico americano
. Milan: Olivetti 1989.
- ^
New World Orders: Casta Painting and Colonial Latin America
. Exhibition catalog. New York: Americas Society Art Gallery 1996.
- ^
Diana Fane, ed.
Converging Cultures: Art and Identity in Spanish America
. Exhibition catalog. New York: The Brooklyn Museum in association with Harry N. Abrams. 1996.
- ^
Los Siglos de oro en los Virreinatos de America 1550?1700
. Exhibition catalog. Madrid: Sociedad Estatal para la Conmemoracion de los Centenarios de Felipe II y Carlos V, 1999.
- ^
Donna Pierce et al.,
Painting a New World: Mexican Art and Life 1521?1821
. Exhibition catalog. Denver: Denver Art Museum 2004.
- ^
The Arts in Latin America: 1492?1820
. Exhibition catalog. Philadelphia: Philadelphia Museum of Art 2006.
- ^
a
b
c
d
Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames and Hudson Ltd, 1993.
- ^
a
b
c
d
Barnitz, Jacqueline.
Twentieth Century Art of Latin America
. Austin, TX: University of Texas Press, 2001.
- ^
Sullivan, Edward.
Latin American Art.
London: Phaidon Press, 2000.
ISBN
978-0-7148-3980-6
- ^
a
b
Baddeley, Oriana & Fraser, Valerie. Drawing the Line: Art and Cultural Identity in Contemporary Latin America. London: Verso, 1989.
- ^
"Frida Kahlo - Surrealist Conflict | PDF | Surrealism | Paintings"
.
- ^
Moses, Tai.
Saint Frida.
MetroActive: Books.
9 Nov 2005 (retrieved 18 April 2009)
- ^
Ramon Ribeyro, Julio (1981-05-17).
"Herman Braun"
.
Marka
(in Spanish). Peru: Caballo Rojo: 14.
The fact that a painter uses the works of other painters as subjects for his paintings is not new. What is new is to deepen this procedure and make it, forcing a little the term, a system.
- ^
"Herman Braun: trato de ofrecer un testimonio de la situacion social"
.
El Comercio
(in Spanish). Lima. 1984-11-30.
During those fifteen years, I worked with western iconography, trying to offer a testimony, a critique , of the social situation.
- ^
Valette-Fondo, Madeleine.
"L'interpicturalite dans quelques tableaux de Braun-Vega"
[Interpicturality in some Braun-Vega paintings] (in French). sens public.
Inspire du collage cubiste, le fragment du journal Le Monde oriente la lecture d'une situation historiquement datee (les annees soixante), mais toujours actuelle, le combat des mouvements de liberation populaire contre l'arbitraire d'un regime d'occupation-repression.
- ^
Cardenas Moreno, Monica (2016).
"La culture populaire peruvienne a l'interieur de la tradition artistique europeenne. Passage et metissage dans la peinture d'Herman Braun-Vega"
(in French). Amerika – via OpenEdition Journals.
Le pouvoir est critique de plusieurs facons : grace au deplacement des personnages comme nous avons pu le constater dans le cas de l'infante Marguerite ; et aussi par le remplacement des personnages le plus puissants de la scene : le couple royal reflete dans le miroir. Braun-Vega rend contemporain le pouvoir represente dans le miroir a travers deux personnages : le pape Jean Paul II accompagne par son invite au Vatican Kurt Waldheim (visite qui avait fait scandale en 1987), l'ancien secretaire general de l'ONU de 1972 a 1981 dont le passe nazi ne fut pas un obstacle pour devenir president de l'Autriche en 1986.
- ^
Bessiere, Bernard; Megevand, Sylvie; Bessiere, Christiane (2008). "Los Caprichos del FMI (Goya, Picasso)".
La peinture hispano-americaine
(in French) (Editions du temps ed.). Nantes: editions du temps. pp. 270?274.
ISBN
978-2-84274-427-4
.
Mais que peuvent bien tramer ces deux femmes et tous les personnages du fond ? Manifestement lies au Fonds Monetaire International, institution chargee depuis 1944 de reguler le systeme monetaire de la planete, sans doute deliberent-ils doctement sur son devenir, en particulier celui des regions pudiquement nommees ≪en developpement≫.
- ^
"Bridging Past, Present, and Future: A Conversation with Cuban Artist Sandra Ramos | Kellogg Institute For International Studies"
.
Kellog Institute at The University of Notre Dame
. 2017-11-06
. Retrieved
2020-03-25
.
- ^
Staff, AiA (2010-10-07).
"US Welcomes Cuban Artists"
.
ARTnews.com
. Retrieved
2020-03-25
.
Further reading
[
edit
]
- Ades, Dawn
.
Art in Latin America: The Modern Era, 1820-1980
. New Haven: Yale University Press 1989.
- Alcala, Luisa Elena and Jonathan Brown.
Painting in Latin America: 1550-1820
. New Haven: Yale University Press 2014.
- Angulo-Iniguez, Diego, et al.
Historia del Arte Hispano-Americano
. 3 vols. (Barcelona 1945-56).
- Anreus, Alejandro, Diana L. Linden, and Jonathan Weinberg, eds.
The Social and the Real: Political Art of the 1930s in the Western Hemisphere
. University Park: Penn State University Press 2006.
- Baddeley, Oriana
; Fraser, Valerie (1989).
Drawing the Line: Art and Cultural Identity in Contemporary Latin America
. London: Verso.
ISBN
0-86091-239-6
.
- Bailey, Gauvin Alexander.
Art of Colonial Latin America
. New York: Phaidon Press 2005.
[1]
- Barnitz, Jacqueline.
Twentieth-Century Art of Latin America
. Austin: University of Texas Press 2001.
- Bayon, D. and M. Marx.
History of South American Colonial Art and Architecture
. New York 1992.
- Bottineau, Yves.
Iberian-American Baroque
. New York 1970.
- Cali, Francois.
The Spanish Arts of Latin America
. New York 1961.
- Castedo, Leopoldo.
A History of Latin American Art and Architecture
. New York and Washington, D.C. 1969.
- Craven, David.
Art and Revolution in Latin America, 1910-1990
. New Haven: Yale University Press 2002.
- Dean, Carolyn and Dana Leibsohn, "Hybridity and Its Discontents: Considering Visual Culture in Colonial Spanish America,"
Colonial Latin American Review
, vol. 12, No. 1, 2003.
- del Conde, Teresa (1996).
Latin American Art in the Twentieth Century
. London: Phaidon Press Limited.
ISBN
0-7148-3980-9
.
- Donahue-Wallace, Kelly.
Art and Architecture of Viceregal Latin America, 1521-1821
. Albuquerque: University of New Mexico Press 2008.
- Fane, Diana, ed.
Converging Cultures: Art and Identity in Spanish America
. (exhibition catalogue Brooklyn Museum of Art 1996.
- Fernandez, Justino (1965).
Mexican Art
. Mexico D.F.: Spring Books.
- Frank, Patrick, ed.
Readings in Latin American Modern Art
. New Haven: Yale University Press 2004.
- Goldman, Shifra M.
Dimensions of the Americas: Art and Social Change in Latin America and the United States
. Chicago: University of Chicago Press 1994.
- Isabella Stewart Gardner Museum.
The Word Made Image: Religion, Art, and Architecture in Spain and Spanish America, 1500-1600
. Boston 1998.
- Kagan, Richard.
Urban Images of the Hispanic World, 1493-1793
. New Haven: Yale University Press 2000.
- Keleman, Pal.
Baroque and Rococo in Latin America
. New York 1951.
- Latin American Artists of the Twentieth Century
. New York: MoMA 1992.
- Latin American Spirit: Art and Artists in the United States
. New York: Bronx Museum 1989.
- Padilla, Carmela, ed.
Conexiones/Connections in Spanish Colonial Art
. Santa Fe 2002.
- Palmer, Gabrielle and Donna Pierce.
Cambios: The Spirit of Transformation in Spanish Colonial Art
. Exhibition Catalog, Santa Barbara Museum of Art 1992.
- Ramirez, Mari Carmen and Hector Olea, eds.
Inverted Utopias: Avant Garde Art in Latin America
. New Haven: Yale University Press 2004.
- Reyes-Valerio, Constantino (2000).
Arte Indocristiano, Escultura y pintura del siglo XVI en Mexico
(in Spanish). Mexico D.F.: Instituto Nacional de Antropologia e Historia Consejo Nacional para la Cultura y las Artes.
ISBN
970-18-2499-7
.
- Reyes-Valerio, Constantino (1993).
De Bonampak al Templo Mayor: El azul maya en Mesoamerica
(in Spanish). Mexico D.F.: Siglo XXI editores.
ISBN
968-23-1893-9
. Retrieved
2007-03-16
.
- Scott, John F.
Latin American Art: Ancient to Modern
. Gainesville: University of Florida Press 1999.
- Los Siglos de Oro en los Virreinatos de America, 1550-1700
. Exh. cat. Madrid: Museo de America, 1999.
- Sullivan, Edward.
Latin American Art
. London: Phaidon Press, 2000.
- Stofflet, Mary (1991).
Latin American Drawings Today
. San Diego Museum of Art.
ISBN
0-295-97107-X
.
- Turner, Jane, ed.
Encyclopedia of Latin American and Caribbean Art
. New York: Grove's Dictionaries 2000.
- Webster, Susan Verdi.
Lettered Artists and the Languages of Empire: Painters and the Profession in Early Colonial Quito
. Austin: University of Texas Press 2017.
ISBN
978-1-4773-1328-2
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