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The Female Body in the Works of Débora Arango and Ignacio Gómez Jaramillo: Colombian Modernism, Religion, and Politics, 1930S-1950S

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The Female Body in the Works of Débora Arango and Ignacio Gómez Jaramillo: Colombian Modernism, Religion, and Politics, 1930S-1950S City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-6-2021 The Female Body in the Works of Débora Arango and Ignacio Gómez Jaramillo: Colombian Modernism, Religion, and Politics, 1930s-1950s Gina M. Vásquez CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/718 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] The Female Body in the Works of Débora Arango and Ignacio Gómez Jaramillo: Colombian Modernism, Religion, and Politics, 1930s-1950s by Gina M. Vásquez Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2021 April 19, 2021 Dr. Lynda Klich Date Thesis Sponsor April 29, 2021 Dr. Harper Montgomery Date Second Reader TABLE OF CONTENTS Acknowledgments……………………………………………………………………..…...…….iii List of Illustrations……………………………………………………………………………......v Introduction: Colombian Modernisms...................................................................................................................1 Chapter One: Controversies around the Female Nude……………………………………………………….…11 Chapter Two: The Modern Woman……...………………………………………………………..……….……33 Chapter Three: La Violencia on the Female Body………………………………………………..……...………51 Epilogue: The Politicized Body……………………….…………………………………….…….……..…65 Bibliography……………………………………………………………………………………..66 Illustrations………………………………………………………………………………………72 ii ACKNOWLEDGEMENTS First and foremost, I want to give a heartfelt thank you to Lynda Klich for her invaluable mentorship, support, and insight in undertaking this research project. From the beginning of my time at Hunter College, she has been supportive of my interests, working with me to develop, expand, and fine tune them into what has finally become this master’s thesis. It has been a true privilege to learn from her. I also deeply appreciated Lynda’s encouragement and guidance as we remotely navigated the completion of this thesis during the COVID-19 pandemic. I want to give a special thank you to Harper Montgomery, who I had the wonderful opportunity to study with for two semesters and who so kindly agreed to be my second reader. Harper has always been enthusiastic in assisting me with my research goals, and learning from her has shaped the way I approach my studies of Latin America. In addition, I want to extend my deepest gratitude to the professors I had the privilege of studying with during my time at Hunter College – S. Sándor John, Thierry de Duve, Edward Bleiberg, and Mia Kang. I have truly learned so much from each of them. I also want to thank the professors at Queens College who I began this graduate degree journey with – Judy Sund, William Clark, and Lawrence Waldron – for sharing their knowledge and passion for art history with me. This page would not be complete without a thank you to Laura Frantz, who has helped me immensely since I enrolled at Hunter, and never ceases to be welcoming and encouraging to all of us in the Department of Art and Art History. Finally, I want to give the utmost thank you to Estrellita Brodsky for her generosity and commitment to Latin American art history, and for providing me with the transformative opportunity to pursue my studies in the field I love most. iii --- This thesis is dedicated to my dear abuelita María Vásquez, a strong and resilient woman who was born in Colombia and lived through many of the events described in this research. Without her this journey would have never happened. iv LIST OF ILLUSTRATIONS Figure 1. Ignacio Gómez Jaramillo, Autorretrato (Self-Portrait), 1930. Oil on canvas, 90 x 73 cm. Figure 2. Débora Arango, Autorretrato con mi Padre (Self-Portrait with my Father), 1949. Oil on canvas. Figure 3. Débora Arango, Jesús Coronado de Espinas (Jesus with a Crown of Thorns), 1931. Oil on canvas, 56 x 56 cm. Private collection. Figure 4. Ignacio Gómez Jaramillo, Desnudo (Nude), 1930. Oil on canvas. Figure 5. Ignacio Gómez Jaramillo, Desnudo (Nude), 1930. Oil on canvas. Figure 6. Ignacio Gómez Jaramillo, Desnudo (Nude), 1931. Carbon on paper. 30 x 25 cm. Figure 7. Ignacio Gómez Jaramillo, Desnudo (Nude), 1933. Carbon on paper. 30 x 25 cm. Figure 8. Ignacio Gómez Jaramillo, Insurrección de los Comuneros (Insurrection of the Commoners), 1938. Fresco. 344 x 305 cm. Capitolio Nacional de Colombia. Figure 9. Ignacio Gómez Jaramillo, Insurrección de los Comuneros (Insurrection of the Commoners), 1938. View from the west staircase of the Capitolio Nacional, Bogotá, Colombia. Reproduced by Helena Weisner in Murales capitolinos de Ignacio Gómez Jaramillo y Santiago Martínez Delgado (Bogotá, 1938-1948). Figure 10. Ignacio Gómez Jaramillo, La Liberación de los Esclavos (The Liberation of the Slaves), 1938. Fresco. 344 x 305 cm. Capitolio Nacional de Colombia. Figure 11. Ignacio Gómez Jaramillo, La Liberación de los Esclavos (The Liberation of the Slaves), 1938. View from the east staircase of the Capitolio Nacional, Bogotá, Colombia. Reproduced by Helena Weisner in Murales capitolinos de Ignacio Gómez Jaramillo y Santiago Martínez Delgado (Bogotá, 1938-1948). Figure 12. Ignacio Gómez Jaramillo, La Liberación de los Esclavos (The Liberation of the Slaves), 1954. Department Assembly for the Government of Antioquia. Figure 13. Débora Arango, La Amiga (The Girlfriend), 1939. Watercolor, 60 x 144 cm. Museo de Arte Moderno de Medellín. Figure 14. Débora Arango, Hermanas de la Presentación or Hermanas de la Caridad (The Dominican Sisters of the Presentation of the Blessed Virgin), ca. 1940. Watercolor, 88 x 117 cm. v Figure 15. Débora Arango, Bailarina en Reposo (Dancer at Rest), 1939. Watercolor. 50 x 129 cm. Figure 16. Débora Arango, La Mistica (The Mystic), 1940. Watercolor. 100 x 66 cm. Museo de Arte Moderno de Medellín. Figure 17. Débora Arango, Meditando la Fuga (Contemplating Escape), 1940. Watercolor. 97 x 95 cm. Figure 18. Débora Arango, Montañas (Mountains), 1940. Watercolor. 97 x 127 cm. Museo de Arte Moderno de Medellín. Figure 19. Débora Arango, Contraste de Lineas (Line Contrast), 1940. Watercolor, 174 x 66 cm. Figure 20. Débora Arango, Friné o La Trata de Blancas (Phryne or the White Slave Trade), 1940. Watercolor, 132 x 100 cm. Museo de Arte Moderno de Medellín. Figure 21. Jean-Léon Gérôme, Phryne before the Aeropagus, 1861. Oil on canvas, 80.5 x 128 cm. Hamburger Kunsthalle. Figure 22. Arango wearing a hairstyle similar to her self-portrait Montañas (Mountains) (1940). Article in El Colombiano by José Mejía y Mejía, Medellín, October 17, 1940. Figure 23. Ignacio Gómez Jaramillo, Madre e Hijo (Mother and Child), n.d. Oil on canvas, 80 x 71 cm. Figure 24. Raphael, The Sistine Madonna, 1512-1513. Oil on canvas, 201 x 269.5 cm. Gemäldegalerie Alte Meister. Figure 25. Ignacio Gómez Jaramillo, Maternidad Mediterránea (Mediterranean Maternity), 1956. Oil on canvas. 60 x 78 cm. Figure 26. Ignacio Gómez Jaramillo, Maternidad (Maternity), n.d. Oil on canvas. 78 x 98 cm. Figure 27. Débora Arango, Maternidad Negra (Black Maternity), 1944. Watercolor. 99 x 66 cm. Museo de Arte Moderno de Medellín. Figure 28. Débora Arango, Madona del Silencio (Madonna del Silencio), 1944. Oil on canvas and hard board. 136 x 92 cm. Museo de Arte Moderno de Medellín. Figure 29. Débora Arango, La Lucha del Destino (Destiny’s Struggle), 1944. Oil on canvas. 145 x 97 cm. Museo de Arte Moderno de Medellín. Figure 30. Débora Arango, Justicia (Justice), 1944. Oil on canvas. 109 x 122 cm. vi Figure 31. Ignacio Gómez Jaramillo, Vendedora de Pescado (Fish Seller), 1955. Oil on canvas. 120 x 80 cm. Figure 32. Débora Arango, Esquizofrenia en el Manicomio (Schizophrenia in the Asylum), 1940. Oil on canvas. 162 x 165 cm. Museo de Arte Moderno de Medellín. Figure 33. Débora Arango, Uribe Cálad, 1940. Oil on canvas. Museo de Arte Moderno de Medellín. Figure 34. Débora Arango, Los Derechos de la Mujer (Women’s Rights), 1954. Watercolor. 46 x 38 cm. Figure 35. Ignacio Gómez Jaramillo, Margot, n.d. Oil on canvas. 70 x 62 cm. Figure 36. Ignacio Gómez Jaramillo, Margot, 1938. Oil on canvas. 79 x 65.5 cm. Figure 37. Ignacio Gómez Jaramillo, Ilva Rasch, 1945. Oil on canvas. 57 x 47 cm. Figure 38. Ignacio Gómez Jaramillo, Bélen Larchaga, n.d. Oil on canvas. 77 x 62 cm. Figure 39. Ignacio Gómez Jaramillo, Autorretrato y Violencia (Self Portrait and Violence), 1938. Oil on canvas, 93 x 78 cm. Figure 40. Débora Arango, La República (The Republic), 1957. Watercolor, 77 x 56 cm. Museo de Arte Moderno de Medellín. Figure 41. Colombian Coat of Arms. Figure 42. Alfredo Greñas, El Escudo de la Regeneración (The Coat of Arms of the Regeneration), 1891. Engraving, 14.5 x 12 cm. Figure 43. Débora Arango, Junta Militar (Military Junta), 1957. Oil on canvas, 178 x 138 cm. Museo de Arte Moderno de Medellín. Figure 44. Retrato de Gustavo Rojas Pinilla (Portrait of Gustavo Rojas Pinilla). 1975 or earlier. Casa Cultural Gustavo Rojas Pinilla. Figure 45. Débora Arango, Maternidad y Violencia (Maternity and Violence), 1950. Oil on canvas, 225 x 96 cm. Museo de Arte Moderno de Medellín. Figure 46. Ignacio Gómez Jaramillo, La Furia y el Dolor (The Anger and the Pain), 1954. Oil on canvas, 81 x 100 cm. Figure 47. Ignacio Gómez Jaramillo, Violencia (Violence), 1954. Oil on canvas, 80 x 98 cm. vii Figure 48. Pablo Picasso, Guernica, 1937. Oil on canvas, 349.3 x 776.6 cm. Museo Nacional Centro de Arte Reina Sofía. viii INTRODUCTION: Colombian Modernisms The period between 1930-1957 was a time of exceptional political and religious animosity in Colombian history.1 Political and religious battles often acted out through the female body in the sphere of everyday life, as women’s issues – ranging from access to education, censorship, unethical institutionalization, increased incarceration, the fight for voting rights to physical violence – were either created, exacerbated, or affected by the hands of politicians and the influence of the Catholic church in Colombia.
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