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Manuel De La Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica

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Manuel De La Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 Manuel de la Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica Lauran Bonilla-Merchav 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/172 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] MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA by LAURAN BONILLA-MERCHAV 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 2014 ©2014 LAURAN BONILLA-MERCHAV 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 ____________________ ________________________________________ Date Professor Anna Indych-López Chair of Examining Committee ____________________ ________________________________________ Date Professor Claire Bishop Executive Officer ____________________________ Professor Romy Golan ____________________________ Professor Eloise Quiñones Keber ____________________________ Professor Edward Sullivan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA Advisor: Professor Anna Indych-López While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama. This is not due to a lack of dedicated artistic effort in the isthmus, but rather to poor cultural infrastructure, which made being a modern artist in the region particularly challenging, and the underdeveloped state of local art histories, which have yet to traverse national borders. This oversight of Central American art makes it difficult to grasp the full scope of Latin America’s adaptation of, and contribution to, international modernism. My dissertation counteracts the privileging of art from North and South America and introduces Costa Rican art history to an international audience by examining the art and life of Manuel de la Cruz González Luján (1909-1986), one of Costa Rica’s most influential modern artists. It emphasizes the importance of the transnational cultural currents that influenced González and his colleagues, and systematically discusses two fundamental phases of artistic growth in the country, the 1930s and the 1960s. By placing González’s artistic production within the socio-historic, cultural, and aesthetic contexts of Costa Rica, this dissertation is a groundbreaking case study of the development of modern art in this Central American nation. González prodded the boundaries of the provincial Costa Rican art world and moved beyond local frameworks to take part actively in the spread of modernist trends. He embraced regionalism, modernismo, and Latin American impressionism while in Costa Rica, and iv surrealism and geometric abstraction during the ten years he spent abroad in Cuba (1948-1950) and Venezuela (1950-1957). Upon his return, he shared his knowledge and experience of international modernism, but was faced with an unprepared and unpropitious artistic setting that neither accepted nor encouraged his geometric abstract art. What his story shows is that in order for a transnational style or idea to take hold in a country such as Costa Rica, which could be any “ex-centric” location, it is necessary to have a receptive context. This analysis of González’s career thus highlights the tension of being a provincial artist, attuned to transnational cultural flows, yet challenged by the limitations of his environment. v ACKNOWLEDGEMENTS The motivation behind my research on Costa Rican modern art history began with a question I posed to Professor Edward Sullivan at the Institute of Fine Arts. I was enrolled as a consortium student in his seminar about abstract art in the Americas and asked him, during office hours one day, why Costa Rican (or for that matter, Central American) art is excluded from the canon of Latin American art history. He challenged me to seek the answer myself, and from that moment on the issue became pivotal to my graduate work. I wrote my first paper on Manuel de la Cruz González in his class, and thereafter Professor Sullivan constantly encouraged my dedication to the topic of Central American art. I continued to research and write about González under the guidance of my dedicated advisor, Professor Anna Indych-López, whose rigor I have always admired. Her effort was instrumental in the successful completion of this project, and it would not have been possible without her clear and specific feedback through digital communication, necessitated by my mid-dissertation move to Costa Rica. She, more than anyone, has helped improve my academic work, and I will forever be grateful to her for it. Throughout graduate coursework, I was also inspired by Professors Romy Golan and Eloise Quiñones-Keber, whose courses on European modernism and Pre-Columbian/Colonial art, respectively, helped round out my knowledge as a modern Latin Americanist. I thank them both for their willingness to serve on my committee, despite my dissertation topic being outside of their specialties. I also must thank Professor Quiñones-Keber specifically for her kind support and encouragement, which began with her acceptance of a seminar topic on colonial Costa Rican art history (a relatively non-existent field), and culminated in her guidance during the early vi stages of my dissertation. In many ways it was she who led me to follow the academic path best suited to my goals. Much of this project depended on the generosity of Mercedes González Kreysa, daughter of the artist, who lent me custody of González’s archive for long enough to organize and document its contents. The material in his archive is invaluable, yielding information about the artist and his context, as well as providing me with a sense of direct contact with González himself. The investigation for this dissertation was also conducted at several archives and institutional libraries that graciously opened their doors to allow for my research. These include the Archivo Central del Museo Nacional de Costa Rica, the Archivo Institucional del Teatro Nacional, the Archivo Nacional, the libraries at the Museo Nacional de Bellas Artes in Havana and the Museo de Arte Costarricense in San Jose, the Biblioteca Nacional "Miguel Obregón Lizano," and The Cuban Heritage Collection at the University of Miami. I am particularly grateful to Maria Enriqueta Guardia for sharing her knowledge of Costa Rican art and the PINCEL database of Costa Rican art despite it not yet having been inaugurated publicly. The years of being a graduate student are economically, intellectually, and emotionally trying, and I want to extend my gratitude to the Mellon Mayes Undergraduate Fellowship program for being with me throughout it. Knowing that “Once a Mellon, always a Mellon,” gave me confidence to forge through the challenges of graduate school, and the different incentives, from stipends to the Dissertation Writing Retreat, were enormously beneficial. I want to thank my friends in the Art History department at the Graduate Center. I deeply appreciate Assistant Program Officer, Andrea Appel, for her encouragement and help in facing the administrative challenges of being a graduate student. I also appreciate feeling that I am part of a true cohort of Latin Americanists that includes, among others, Miguel Arisa, Nandi Cohen, vii Arden Decker-Parks, Elizabeth DeRose, Ellie Fitzpatrick Sifford, Sarah Holian, Maya Jiménez, Marisa Lerer, Renee McGarry, Alberto McKelligan, Penelope Ojeda, María-Laura Steverlynck, Lorena Tezanos, and Lawrence Waldron. We shared many conversations, helped each other in our professional endeavors, and continue to maintain contact. I am deeply grateful to Miguel Arisa, in particular, for his friendship, generous spirit, and his help in celebrating my victories. He also helped me start the writing process when the panic of beginning was overwhelming, and he gave me useful and straightforward advice throughout my graduate education. Upon moving to Costa Rica at the end of 2010, though I had “contacts,” I did not feel professionally connected to the country’s cultural community. This quickly changed, as I became involved in various art-related organizations. I want to extend my gratitude to my colleagues from AccionArte, Fundación ARDE (Arte para el Desarrollo), and ICOM Costa Rica. I would like to name Lil Apestegui, Felicia Camacho, Maria Elena Carballo, Amalia Chaverri, Maria Jose Chavarría, Rossella Matamoros, Hugo Pineda, Pilar Quirós, Antonieta Sibaja, Daniel Soto, Jody Steiger, and Gabriela Villalobos, all of whom have helped me feel welcome and comfortable in my new role as cultural agent. I also am grateful for having been given the opportunity to participate in several workshops at the Fundación Teor/éTica. Together all of these experiences have helped me to better understand and feel
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