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Repertorio Americano Y El Grabado En Madera Costarricense De La Primera Mitad Del Siglo XX

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Repertorio Americano Y El Grabado En Madera Costarricense De La Primera Mitad Del Siglo XX UNIVERSIDAD DE COSTA RICA FACULTAD DE BELLAS ARTES ESCUELA DE ARTES PLÁSTICAS Repertorio Americano y el grabado en madera costarricense de la primera mitad del siglo XX Tesis para optar por el grado de licenciatura en Historia del Arte MARÍA ALEJANDRA TRIANA CAMBRONERO Ciudad Universitaria Rodrigo Facio, Costa Rica 2017 Hoja de aprobación Repertorio Americano y el grabado en madera costarricense de la primera mitad del siglo XX. Tesis sometida el día 2 de noviembre de 2017 a la Escuela de Artes Plásticas, Facultad de Bellas Artes de la Universidad de Costa Rica, como requisito parcial para obtener el grado de Licenciatura en Historia del arte -~ \ \ M.A.V. Ólger Arias Rodríguez Preside - .ibunal Examinador Aprobad a por: ontero Picado ~o-~o-4o e------·· Lic. Ileana Alvarado Venegas Lectora M.F .A. Alberto Murillo Herrera Lector ch. [\'.:laría Alejandra Triana - Cambronera 111 A mis padres, Sonia y Manuel. AEdgar. IV V Agradecimientos Agradezco encarecidamente a mi comité asesor: a Carlos Guillermo Montero, director de la tesis, quien puso a mi entera disposición sus conocimientos y su archivo personal, y a mis lectores, Ileana Alvarado y Alberto Murillo, quienes también contribuyeron en el proceso con revisiones yobservaciones acuciosas. También debo agradecerles a Eugenia Zavaleta y a Edgar Ulloa las observaciones y recomendaciones con las que me ayudaron a optimizar la investigación y el documento. A Alberto Murillo y a Adrián Arguedas le estaré siempre agradecida, asimismo, por ayudarme a comprender las especificidades y la complejidad de las técnicas xilográficas. Otras personas que, de distintas formas, colaboraron con mi proceso de investigación merecen, del mismo modo, mi gratitud: Mario Oliva Medina, Regina Crespo, Saúl Sosnowski, Hugo Pineda, María del Carmen Díaz, Gabriela Villalobos, Manuel Triana, y también quienes amablemente atendieron mis consultas en el Museo de Arte Costarricense, en el Centro de Investigación en Identidad y Cultura Latinoamericanas, en la Biblioteca Nacional y en las bibliotecas de la Universidad de Costa Rica y la Universidad Nacional. Finalmente, agradezco a mi familia y a mis amigos por todo el apoyo, la motivación y la paciencia. VI Vll Tabla de Contenidos Hoja de aprobación ........................................................................................................................................... i Agradecimientos ............................................................................................................................................... v Tabla de Contenidos ....................................................................................................................................... vil Tabla de Imágenes ........................................................................................................................................... ix Resumen ......................................................................................................................................................... :x:xi Introducción ...................................................................................................................................................... 1 Tema de la investigación ............................................................................................................................... 1 Justificación ................................................................................................................................................... 1 Pregunta de investigación .............................................................................................................................. 3 Hipótesis ........................................................................................................................................................ 3 Objetivo general ............................................................................................................................................ 4 Objetivos específicos ..................................................................................................................................... 5 Metodología ................................................................................................................................................... 5 Estado de la cuestión ................................................................................................................................... 1O Capítulo l. El editor de Repertorio Americano ............................................................................................. 19 l. l. Entre la reforma educativa de 1886 y el Santiago radical de inicios del siglo XX .............................. 20 1. 2. La revista Vida y Verdad y los programas escolares de 1908 .............................................................. 27 l. 3. El Centro Germinal .............................................................................................................................. 32 l. 4. La Escuela Normal, la dictadura y la experiencia editorial... ............................................................... 37 1. 5. Ministro interino, agitador antiimperialista y Benemérito de la Patria ................................................ 44 l. 6. Los objetivos de Repertorio Americano y el papel de los artistas en la sociedad ................................ 54 l. 7. Conclusiones ........................................................................................................................................ 62 Capítulo 11. La revista y las redes intelectuales latinoamericanas ............................................................. 65 2. l. Producción, circulación y particularidades editoriales ......................................................................... 67 2. l. l. Las finanzas ................................................................................................................................ 68 2. l. 2. De la oficina a los talleres de imprenta ...................................................................................... 70 2. l. 3. Circulación, promoción, contactos y colaboradores .................................................................. 73 2. 2. Intelectuales latinoamericanos y costarricenses en la revista ............................................................... 82 2. l. 4. Una característica diferenciadora .............................................................................................. 86 2. 2. l. Ideales de integración continental .............................................................................................. 91 2. 2. 2. Antiimperialismos ..................................................................................................................... 103 vm 2. 2. 3. Antifascismo e intelectuales costarricenses de izquierda ......................................................... 111 2. 3. Conclusiones ...................................................................................................................................... 117 Capítulo m. Repertorio Americano y el desarrollo del grabado en madera costarricense de los años treinta y cuarenta •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 123 3. l. Los antecedentes y el papel de las revistas culturales ........................................................................ 124 3. 2. Conexiones ........................................................................................................................................ 141 3. 2. l. Las primeras xi/agrafias modernas .......................................................................................... 141 3. 2. 2. Más grabadores y grabados ..................................................................................................... 149 3. 2. 3. Angustias, paisajes, Francisco en Harlem y literatura infantil ilustrada ................................. 155 3. 2. 4. ElÁlbumdegrabadosenmadera ............................................................................................. 168 3. 2. 5. Max Jiménez.............................................................................................................................. 172 3. 2. 6. Prieto, Laporte, Arauja y Trabajo: la vertiente política del grabado en madera costarricense] 80 3. 2. 7. Otros ......................................................................................................................................... 188 3. 3. Literatura, grabado y vanguardismo .................................................................................................. 192 3. 4. Conclusiones ...................................................................................................................................... 206 Conclusiones generales ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 213 Bibliografía ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 217 Fuentes primarias ....................................................................................................................................... 217 Fuentes secundarias ................................................................................................................................... 227 Imágenes ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
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