DOCSLIB.ORG

Latin American Art in the Colombian Caribbean. the Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Latin American Art in the Colombian Caribbean. the Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963) ♯11 second semester 2017 : 144-151 ISSN 2313-9242 Isabel Cristina Ramírez Botero (Universidad del Atlántico, Colombia) Latin American Art in the Colombian Caribbean. The Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963) Latin American Art in the Colombian Caribbean… / Isabel Cristina Ramírez Botero ♯11 second semester 2017 contexts. The inter-American salons provided an opportunity to further those processes and to legitimize them through internationalization. Interplay of interests Latin American Art in the A number of factors were at play in the close Colombian Caribbean. relationship between the OAS’s Music and Visual Arts Units and the cities of Cartagena The Inter-American Modern Art and Barranquilla, among them Gómez Sicre’s Salons of Cartagena (1959) and interest and affinity with local artists like Alejandro Obregón and Enrique Grau, whom he Barranquilla (1960 and 1963) repeatedly called the central figures in groundbreaking modern art in Colombia Isabel Cristina Ramírez Botero (Gómez Sicre, 1963).4 Furthermore, Gómez Sicre’s counterpart as the head of the OAS’s (Universidad del Atlántico, Colombia) Music Unit from 1951 to 1975 was Guillermo Espinosa (1905-1990),5 a musician from Cartagena. At the same time, both Cartagena and Barranquilla were port cities undergoing processes of modernization. During the first half of the twentieth century in particular, they were very attractive to North American investment In the mid-twentieth century, three editions of and as locations for multinational companies. the Salones Interamericanos de Arte Moderno were held, one in Cartagena (1959) and two in If, as stated above, the art institutions in those Barranquilla (1960 and 1963). Artists and cities were incipient and erratic in their intellectuals very active in the inter-American operations, a process of modernization had circuits of the time were involved in the salons. been underway in both since the forties, one The events led to, for instance, the opening— that entailed a series of concerns and initiatives premature in the Colombian context—of on the part of artists, writers, thinkers, and local modern art museums in Cartagena (1959) and cultural administrators.6 Those players were the in Barranquilla (1960).1 engine behind new art venues; they attempted to put in circulation and to legitimize, in their Latin American art history has pointed out on local contexts, new visual languages and the many occasions the reinforcement of ties idea of the “modern” and professional artist.7 between the United States and the region after World War II. Due, in part, to ideological The inter-American salons, then, were not an interests, art circuits took shape and inter- isolated project, but part of a mechanism that American exhibitions, salons, and biennials entailed, among other things, a series of earlier sprouted up around the continent during the salons. Over the course of two decades, they Cold War. Crucial to that process was the work were held erratically; their names, scales, and of the Organization of American States (OAS) scopes varied as well. Seven editions of a and of the director of its Visual Arts Unit, José regional salon called El Salón de Artistas Gómez Sicre (1916-1991).2 Costeños were held from 1945 to 1953. That salon was then turned into a nationwide event The salons in Cartagena and Barranquilla of which two editions were held in Barranquilla formed part of that inter-American fabric; they (1955 and 1959) and one in Cartagena (1959); were a privileged setting for Gómez Sicre’s work artists more active and known on the larger in Colombia and a key factor in his relations Colombian scene participated in that national there.3 Though artistic and cultural version of the salon. Finally, those national institutionalism was, at the time, still quite salons led to the inter-American events. In all of precarious in both cities, there was, starting in its incarnations, the salon stimulated exchange the mid-forties, an active group of avant-garde between the two cities and between the artists and intellectuals in each; their initiatives Caribbean region and the wider Colombian art gave rise to the first art institutions in the local Latin American Art in the Colombian Caribbean… / Isabel Cristina Ramírez Botero 144 ♯11 second semester 2017 scene. A single group of local cultural generated visible tension because it was administrators and artists was involved in the associated with centralism. organization of the salon, among them Alejandro Obregón—from Barranquilla—and In the inter-American salons, a number of Enrique Grau and Cecilia Porras—from different interests came together at strategic Cartagena. All of them were also active moments. If, for Gómez Sicre, the salons were participants in the Bogota art scene, specifically key to his work in Colombia and to the in the group led by Marta Traba after her arrival consolidation of the type of avant-garde he was in Colombia in 1954. They were the minds interested in promoting, they represented, for behind “true” modern art in Colombia, as local players and their initiatives, a fertile opposed to the earlier generation which had occasion to make connections and to find been tied to localisms and nationalisms. legitimation through, for instance, internationalization. There was, then, a synergy These local processes, though recent, were of projects. growing. And throughout the fifties—in a context where the art field was still extremely Common traits of the inter-American precarious—a strategy was enacted to legitimize salons in the Caribbean region of and renew art, to support young local artists, Colombia and to create new cultural spaces. In 1959, the IX Festival de Música de The tension between nation and region was Cartagena was held. Guillermo Espinosa had evident in the earlier salons in Cartagena and been the organizer of the festival—an attempt to Barranquilla. In the information that circulated, foster cultural rebirth in the city—since 1945. particularly in the press, the tendency to praise From his new post at the OAS, he resuscitated a the quality of the artists from the region as festival that had not been held since 1953, and compared to “national art” as a whole is patent; gave it a new inter-American scope. On the frequent mention is made of the artists and occasion of the ninth edition of the music writers from the Caribbean region that, festival, the Exposición de Pintura together, were at the forefront of Colombian Interamericana de Cartagena was organized modernism. As a result, local elites began to with the support of Gómez Sicre. (Fig.1) support regional talent as a fundamental part of Columbian modern art,8 and Cartagena and Barranquilla as unquestionable centers of the country’s cultural movement. It is essential to point out, along those lines, the historical tension between the two largest cities in the Caribbean region and the center of the country—especially the capital—a tension with deep roots in politics and economics. Cartagena was the most important port during the colonial era, and there were always tensions over what city would be the country’s capital. Strategically Fig. 1. General view of the Exposición Interamericana de located at the mouth of the Magdalena River— Pintura Contemporánea de Cartagena at the Galería del for a time the country’s most important Palacio de la Inquisición. From left to right: Objeto negro transportation route—Barranquilla was, starting (1956) by Oswaldo Vigas, an unidentified work by Ángel Hurtado, Composición en negro (1958) by Enrique Grau, in the late nineteenth century, the country’s Casa de Venus (1957) by Fernando de Szyszlo and largest port. That, along with quick Carnicero (1957) by José Luis Cuevas. Photo published at modernization, particularly in the twenties and the Boletín de Artes Visuales of the Unión Panamericana, thirties, brought remarkable growth. Starting in N. 5, May-December 1959. the forties and fifties, however, the city began to decline as river transportation grew less and Gómez Sicre’s support was sought one year later less important and the thrust of the economy in Barranquilla in an effort, organized on the shifted to coffee, which implied moving activity occasion of the anniversary of the city’s to the port of Buenaventura on the Pacific. The founding, to follow the example set by economic and industrial decline of Barranquilla Cartagena and turn the Salón Anual de Barranquilla into an inter-American Salon. The Latin American Art in the Colombian Caribbean… / Isabel Cristina Ramírez Botero 145 ♯11 second semester 2017 idea was an initiative of the Centro Artístico,9 The third inter-American salon was held three particularly of writer Álvaro Cepeda Samudio years later, in 1963. It coincided with the (1926-1972) and of Obregón. Gómez Sicre’s celebration of the one hundred and fiftieth presence in the city was nothing new. Since anniversary of the city’s founding, occasion for a 1956, the local press had reported on his visits series of events. The Centro Artístico took to Barranquilla—which pursued many different advantage of the opportunity to refloat the idea aims—as well as his whereabouts as he worked of a major salon that formed part of a broader on projects throughout the continent. campaign to promote Barranquilla as Furthermore, Gómez Sicre contributed cosmopolitan city of progress and civilization.10 personally to various publishing projects that gave rise to new spaces for art and culture in the The common features of the three salons held in press in Barranquilla. In 1956 and 1957, after the Caribbean region of Colombia attest to the Hojas Literarias supplement was created, Gómez Sicre’s repeated deployment of the same Gómez Sicre periodically submitted extensive strategies throughout the continent. 11 The articles on modern art, in defense of salons spread certain ideas about art, circulated abstraction, and in opposition to political or certain images, and insisted on the importance ideological art.
Load more

Recommended publications
  • LATIN AMERICAN and CARIBBEAN MODERN and CONTEMPORARY ART a Guide for Educators
    LATIN AMERICAN AND CARIBBEAN MODERN AND CONTEMPORARY ART A Guide for Educators The Teacher Information Center at The Museum of Modern Art TABLE OF CONTENTS 1. A NOTE TO EDUCATORS IFC 2. USING THE EDUCATORS GUIDE 3. ARTISTS AND ARTWORKS 42. THEMATIC APPROACHES TO THE ARTWORKS 48. SELECTED BIBLIOGRAPHY AND RESOURCES 52. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2004 The Museum of Modern Art, New York Available in English and Spanish from the Teacher Information Center at The Museum of Modern Art. A NOTE TO EDUCATORS We are delighted to present this new educators guide featuring twenty artworks by 1 Latin American and Caribbean artists. The guide was written on the occasion of MoMA at A El Museo: Latin American and Caribbean Art from the Collection of The Museum of Modern N O Art, a collaborative exhibition between MoMA and El Museo del Barrio. The show, which T E runs from March 4 through July 25, 2004, celebrates important examples of Latin T O American and Caribbean art from MoMA’s holdings, reflecting upon the Museum’s collec- E D tion practices in that region as they have changed over time, as well as the artworks’ place U C A in the history of modernism. T O The works discussed here were created by artists from culturally, socioeconomically, R politically, and geographically diverse backgrounds. Because of this diversity we believe S that educators will discover multiple approaches to using the guide, as well as various cur- ricular connections.
    [Show full text]
  • Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON
    International Center for the Arts of the Americas at the Museum of Fine Arts, Houston Documents of 20th-century Latin American and Latino Art A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON ICAA Record ID: 1065622 Access Date: 2017-08-18 Bibliographic Citation: Mosquera, Gerardo. “From Latin American Art to Art from Latin America.” ArtNexus (Bogotá, Colombia), no. 48 (April- June 2003): 70- 74. WARNING: This document is protected by copyright. All rights reserved. Reproduction Synopsis: or downloading for personal Gerardo Mosquera considers the usefulness of the idea of Latin American art, ultimately taking a use or inclusion of any portion firm position against it as it has been understood up to now. He begins by describing Latin of this document in another work intended for commercial American culture’s “neurosis of identity” as the inevitable result of its complex history of cultural purpose will require permission and ethnic intermingling, colonialism, and oppositional relationships with Europe and the United from the copyright owner(s). States. Mosquera warns of the “traps” into which Latin American art is apt to fall with the ADVERTENCIA: Este docu- globalization of art and culture, even though, thanks to globalization it is increasingly visible in mento está protegido bajo la ley de derechos de autor. Se the so-called mainstream. In this context, Latin American art that insists on its identity as such is reservan todos los derechos. in jeopardy of, among other things, 1) becoming a postmodern “cliché,” 2) being seen as Su reproducción o descarga derivative of art produced in Western centers, and 3) of “self-exoticism.” Instead, Mosquera para uso personal o la inclusión de cualquier parte de este argues that Latin American artists should be understood as part of what he calls a “third scene,” documento en otra obra con in which difference and displacement is accepted as an inherent aspect of globalization.
    [Show full text]
  • Single-Owner Collection of Cuban Art Included in the Latin American Art Sale | November 22-23, 2016
    PRESS RELEASE | NEW YORK | 2 5 OCTOBER 2016 WIFREDO LAM (1902-1982) MARIANO RODRÍGUEZ (1912-1990) Sur les traces (Transformation), Painted in 1945. Pelea de gallos, Painted in 1942. Estimate: $2,500,000-3,500,000 Estimate: $800,000-1,200,000 SINGLE-OWNER COLLECTION OF CUBAN ART INCLUDED IN THE LATIN AMERICAN ART SALE | NOVEMBER 22-23, 2016 MIAMI PREVIEW | OCTOBER 29-30, 2016 New York—Christie’s announces an unprecedented single-owner collection of modern and contemporary Cuban art, CUBA MODERNA: Masterworks from a Private Collection, featured in the Latin American Art sale, November 22-23 in New York, with a public preview of highlights in Miami from October 29-30. The Miami preview is held in collaboration with Christie’s International Real Estate and EWM Realty International. Carefully assembled over the past three decades, this extensive collection of nearly forty works spans from the historical vanguardia—with works by Victor Manuel, Eduardo Abela, Amelia Peláez, Fidelio Ponce de León, Carlos Enríquez, Marcelo Pogolotti—through modern masters of the Havana school—Cundo Bermúdez, René Portocarrero, Mario Carreño, and Mariano Rodríguez—artists that experimented in abstraction and Surrealism—Wifredo Lam, Agustín Fernández, Servando Cabrera Moreno, and José María Mijares—as well as a handful of contemporary painters who made waves in the 1980s and 1990s, once again drawing Cuban art into the international spotlight. CUBA MODERNA is led by Wifredo Lam’s Sur les traces (Transformation), (estimate: $2,500,000-3,500,000). Painted in 1945, after Lam’s return to Havana during the Second World War, this large-scale painting exemplifies the impact of Surrealism coupled with the influence of Afro-Cuban culture, in which stippled, black brushwork insinuates myriad bodies— suggestively hybridized and otherworldly—silhouetted against a shadowy landscape.
    [Show full text]
  • Latin American Art: Selected Sources
    BiblioNoticias No. 94, March 1998 Editor: Ann Hartness LATIN AMERICAN ART: SELECTED SOURCES Compiled by Laura Gutiérrez-Witt The increasingly visible presence of Latin American artists and their work on the global art scene has resulted in a vast increase in the number of publications and sources of information on Latin American art. A variety of institutions such as museums, galleries, and universities as well as commercial publishers and government cultural agencies in the United States, Latin America and Europe are sponsoring and distributing these materials. Necessarily the titles selected for this bibliography represent only those works which deal with Latin American art in general. Publications which deal with the history of art in one country or with only one artist are excluded due to their sheer volume. Latin American art is here defined to include all media: painting, architecture, sculpture, photography, drawing, printmaking, textiles, decorative art such as furniture and metalwork, and contemporary folk art. The titles are limited to works and artists of the sixteenth to twentieth centuries. Materials on pre-Columbian indigenous art are excluded, again because of their volume. Additional sources for Latin American art can be found in the library catalog under "Art--Latin America" and "Art, Latin American," as well as under specific countries, for example, "Art-- Argentina" and "Art, Argentine." A search can also be done by medium, for example, "Painting-- Argentina" and "Painting, Argentine." PRINT SOURCES BIBLIOGRAPHIES A Bibliography of Contemporary Art in Latin America: Books, Articles and Exhibition Catalogs in the Tulane University Library, 1950-1980. Comp. by Monica E. Kupfer.
    [Show full text]
  • Modernism, the United States Continues to Suffer from a Dis We to Modernism's Cultural Tressing Provincialism
    When it comes to modernism, the United States continues to suffer from a dis We to modernism's cultural tressing provincialism. still presume share patent War II to between ourselves and Europe?before World belongs that side of the to us. case are a Atlantic; post-WWII goes (In you thinking "beating dead horse" as read the exercise: count the references to non you this, try following major in new Hal Rosalind European/non-U. S. works the splashy textbook by Foster, Krauss,Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900.' Even Robin Ad?le to modernism still adds Greeley for those who really ought know better, up to an Eurocentric Modernism: overwhelmingly phenomenon.) A provincialism underwritten by the worlds biggest military with a to "mul What El Norte Can Learn from budget cannot, however, be easily shrugged off nod continents Latin America ticulturalism."2 Merely adding cultures of the other five + subcontinents + archipelagos + etc. to the modernist mix does not And costs us we fix the problem. this deficiency dearly. What understand?or to don't?about, say, Chinas cultural relationship modernity may spell the differ ence an or between actively collaborative future with Asia's colossus antagonistic as at news will the blundering. And, any glance the daily show, knowledge gap U.S. interests adds to between hegemonic and Islamic culture exponentially politi cal tensions and human misery both here and abroad. in six The essays collected this forum, analyses by contemporary scholars of Latin are a to address key American and Chicano/a critics, part of larger effort to Latin American a this problem with regard modernism.
    [Show full text]
  • 07.Blood and Ritual. Ancient Aesthetics In
    Blood and ritual: ancient aesthetics in feminist and social art in Latin America Emilia Quiñones Otal Introduction The work of contemporary artists Regina José Galindo and Lorena Wolffer has been characterized by its harsh social criticism. While both are primarily known for their work against gender violence, they have also addressed other problems in their regions, such as oppressive governments, wars, and the imperialism they are subjected to due to the political, economic, and cultural intervention of the United States. Galindo was born in Guatemala and has worked there throughout her career. Her art has been exhibited around the world, including at the Venice Biennale, where in 2005 she was awarded a Golden Lion in the category of "artists under 30." Wolffer is Mexican and, like Galindo, she has had an international impact. Both have developed an art full of striking elements, including blood, aimed at disturbing the viewer, and both use very contemporary methods, including performance, video art, and complex art projects in which the audience interacts with the piece and where one single piece may consist of written, recorded, photographed, and theatrical elements. This paper will examine the artists who have had the greatest impact on these two contemporary women in terms of theme, style, and symbolism. One performance each by Galindo and by Wolffer will be addressed in particular. The theme and many formal symbolic elements are common to both performances, which are characterized by a very strong critique of social problems in their countries, including the economic crisis, corruption, military interventions, rape, and the problems faced by the indigenous people of Guatemala.
    [Show full text]
  • Art of the Forties Exhibition Includes Masterpieces of Latin American Art
    The Museum of Modern Art FEATURE ART OF THE FORTIES EXHIBITION INCLUDES MASTERPIECES OF LATIN AMERICAN ART Several modern masterpieces of Latin American art are included in ART OF THE FORTIES, a major exhibition on view through April 30 at The Museum of Modern Art. Drawn entirely from the Museum's extensive holdings from the period, the exhibition surveys the creative climate of the forties—a turbulent decade that in many respects reshaped the world. Included are works of various mediums that reflect the history, development of ideas, and evolution of imagery of the decade. While Europe was in the throes of World War II, Latin America struggled with its own revolutionary past. Many Hispanic artists sought to evoke the world's chaos in their art. Drawing on the rich heritage of Mexican mural painting, they created works of formidable scale, picturing the devastation of war with a unique Latin American pathos. Working abroad, other Latin American artists were influenced by the Surrealism and abstraction of pre-war Europe. Works by nine Hispanic artists are featured in ART OF THE FORTIES, including Francisco Dosamantes, Frida Kahlo, Leopoldo Mendez, Jose Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, of Mexico; Wilfredo Lam, of Cuba; Matta (Sebastian Antonio Matta Echaurren), of Chile; and Joaquin Torres- Garcia, of Uruguay. Mexican works reflect revolutionary heritage Jose Clemente Orozco's fresco Dive Bomber and Tank (1940), a six-panel mural, opens the ART OF THE FORTIES exhibition. Commissioned by The Museum of Modern Art and completed one week after France fell to the Nazis, the fresco - more - 11 West 53 Street, New York, N.Y.
    [Show full text]
  • 2012 LAS Noticias
    L.A.S. noticias the latin american studies newsletter bowdoin college número 4, july 2012 A note from the Director Dear Alumni, Students, Faculty, and Friends: Professors. In the Fall of 2012 we will are thrilled to have Mellon Postdoctoral Fellows, Laura Premack (Africana We hope that as you move into your summer, you have Studies) and Elizabeth Shesko (History), contributing a few moments to read LAS Noticias in its new electronic courses to the program. format! This year the LAS Program has decided to “go green” with our newsletter: LAS Noticias may be Over the past year LAS faculty and students have been downloaded as a PDF file or read on our website (http:// engaged in research projects here at Bowdoin and www.bowdoin.edu/latin-american-studies/). The new in other parts of the United States, Europe, and Latin format will enable us to save a few trees and to redirect America. The accomplishments of our faculty members funds from postage and printing to support additional are described in the Faculty News section of the LAS speakers, performances, and programming related to Noticias, but you may access even more detail (links to Latin America, the Caribbean, and Latin@s in the US. This articles, descriptions of courses and independent studies, volume of LAS Noticias highlights just a few of the ways images and media clips, etc.) by going to individual the faculty, students, alumni, and staff of the LAS Program faculty webpages http://www.bowdoin.edu/latin- at Bowdoin aim to enhance understanding of the art, american-studies/faculty/index.shtml).
    [Show full text]
  • Modernisms São Paulo Concepts, Contexts, and Circulation Program and Abstracts 4 Contents
    Tarsila do Amaral, Opérarios, Copyright: 1933, Acervo do Governo do Estado de São Paulo, oil on canvas, 150cm x 205cm Transregional Academy 16—24 July 2016 Modernisms São Paulo Concepts, Contexts, and Circulation Program and Abstracts 4 Contents Concept Note ......................................................................... 6 Program ................................................................................... 7 Participants and Projects ................................................... 17 Working Groups ..................................................................... 37 Steering Committee and Speakers .................................. 40 Reading List ............................................................................. 47 Institutional Framework ...................................................... 50 6 Concept Note Modernisms: Concepts, Contexts, and Circulation Transregional Academy 16—24 July 2016, São Paulo The goal of the academy is to facilitate an exchange on concepts and varia- tions of modernism across nations and regions. In the spirit of this kind of transregional perspective, the objective is to compare the modernist debates in Latin American countries with those occurring in Africa, Asia, Europe, and North America and to locate them within a global context. In doing so, ques- tions arise concerning appropriation and distinction, as well as revisions and translations of developments and processes that manifest themselves in terms such as “colonial art,” “independence,” “originality,” “primitivism,”
    [Show full text]
  • Afro-Latin American Research Institute At
    AFRO-LATIN AMERICAN RESEARCH INSTITUTE AT THE HUTCHINS CENTER HARVARD UNIVERSITY Building the New Field of Afro-Latin American Studies ALARI 4 Mission 6 Initiatives 8 ACTIVISM Afrodescendientes/Afrodescendants 9 Pre-Texts 12 ACADEMIA Mark Claster Mamolen Dissertation Workshop 14 Conferences on Afro-Latin American Studies 15 Working Group on Comparative Slavery 16 Afro-Latin America Book Series 17 Specialization and International Course on Afro-Latin American Studies 18 Afro-Latin American Art 19 Afro-Latin American Archaeology 20 Visiting Fellows 22 INTERNATIONAL ORGANIZATIONS OAS-ALARI Collaborative Agrrement 24 IDB-ALARI Postdoc Fellowship on Race and Contents Public Policy in Latin America 25 POLICY MAKERS RIAFRO 26 People 27 Faculty 28 Students 33 Contact 39 Housed at the Hutchins Center for African & African American Research at Harvard University, the Afro-Latin American Research Institute is the first research institution in the United States devoted to the history and culture of peoples of African descent in Latin America and the Caribbean. Over 95 percent of the Africans forcibly imported into the Americas went to Latin America and the Caribbean, almost two-thirds of them to the Spanish and Portuguese colonies. Many Hispanics in the United States are also of African descent. Cultural forms and community practices associated with Africa are conspicuous across the region—indeed, the very existence of Latin America would be unthinkable without them. During the last few decades, Afro-Latin Americans have created numerous civic, cultural, and community organizations to demand recognition, equality and resources, prompting legislative action and the implementation of compensatory policies. The Afro- Latin American Research Institute stimulates and sponsors scholarship on the Afro-Latin American experience and provides a forum where scholars, intellectuals, activists and policy makers engage in exchanges and debates.
    [Show full text]
  • Colombian Artists in Paris, 1865-1905
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad.
    [Show full text]
  • Directions in Latin American Visual Cultural Studies
    Coffey, Mary K. 2019. New (and a Few Old) Directions in Latin American Visual Cultural Studies. Latin American Research Review 54(1), pp. 255–261. DOI: https://doi.org/10.25222/larr.381 BOOK REVIEW ESSAYS New (and a Few Old) Directions in Latin American Visual Cultural Studies Mary K. Coffey Dartmouth College, US [email protected] This essay reviews the following works: María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art. By Nancy Deffebach. Austin: University of Texas Press, 2015. Pp. vii + 225. $60.00 hardcover. ISBN: 9780292772427. Cosmopolitanism in Mexican Visual Culture. By María Fernández. Austin: University of Texas Press, 2014. Pp. x + 438. $60.00 hardcover. ISBN: 9780292745353. The Mobility of Modernism: Art and Criticism in 1920s Latin America. By Harper Montgomery. Austin: University of Texas Press, 2017. Pp. xi + 319. $29.95 paperback. ISBN: 9781477312544. At the Crossroads: Diego Rivera and His Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts. By Catha Paquette. Austin: University of Texas Press, 2017. Pp. xix + 324. $29.95 paperback. ISBN: 9781477311004. As with other historical disciplines, art history has witnessed a shift from objectivist approaches to the past toward ones that treat not only historical objects, but also terms like “objectivity” itself, as discursively produced via articulations of knowledge and power that do not uncover or restore Truth, but rather produce truths. Historiography increasingly traces the discursive production of these disciplines with an emphasis on the imbrication of historical truth claims within systems of oppression, such as colonialism, racial and gender formations, or the forces of global capitalism, to name only a few.
    [Show full text]