Documents of 20th-century Latin American and Latino Art Home


Document first page thumbnail
  • ICAA Record ID
    Alguíndigue, IIdemaro
    Luis Guevara Moreno : mi obra presente se apoya en una saturación visual / Ildemaro Alguíndigue
    El Nacional (Caracas, Venezuela). -- Oct. 28, 1969
    Journal article – notes
    Alguíndigue, IIdemaro. "Luis Guevara Moreno : mi obra presente se apoya en una saturación visual." El Nacional (Caracas, Venezuela), October 28, 1969.
Editorial Categories [?]

Journalist lldemaro Alguindigue interviews Luis Guevara Moreno after he had been awarded the prizes in drawing and printmaking at the XXX Salón Oficial Anual de Arte Venezolano. In the interview, the artist speaks of the recent abolishment of the Salón de Dibujo y Grabado organized by the School of Architecture and Urbanism at the Universidad Central de Venezuela, Caracas (UCV) in Caracas, the evolution of printmaking in Venezuela as evidenced by the XXX Salón Oficial, the graphic art movement in Europe and in Latin America, and his own approach to different disciplines (painting, printmaking, and drawing).


This interview with Luis Guevara Moreno (b. 1926) by Ildemaro Alguindigue provides valuable information about salons in Venezuela at the time and the artist’s opinion of them. Guevara Moreno had recently received two important prizes: the Salón Oficial Anual de Arte Venezolano in Caracas, and the Premio Nacional in the drawing and in the printmaking categories, which—for the second time—were granted separately. Starting in 1959 and through 1968, a single prize in drawing and printmaking was granted by the School of Architecture and Urbanism at the Universidad Central de Venezuela in Caracas. That prize was particularly important to graphic arts in Venezuela because, atypically, it presented prints and drawings as autonomous media. In 1967, that event became the Bienal Latinoamericana, though only one edition was held due to lack of support. 


This article was written in 1969, when the second edition of the biennial would have been held. Guevara Moreno states in the interview that “[the event] will apparently vanish without anyone demanding that it continue.” Regarding the prints in the Salón Oficial Anual de Arte Venezolano that year, the artist remarks on the patent improvement in terms of technical mastery, aesthetic quality, and creativity compared to works included in earlier editions—testament to the maturity of the artists who, starting in 1960, had worked at the Taller de Luisa Palacios, many of whom were also conducting an intense teaching activities at the same time. This was an important moment in the graphic arts in Venezuela: artists who, albeit under the guidance of Elisa Elvira Zuloaga and Pedro Ángel González, had taught themselves printmaking techniques and learned what they could at the studios of distinguished foreign printmakers were now able to convey their knowledge in a systematic fashion to a group of students.


For an interview with Guevara Moreno by writer J.R. Guillent Pérez where the artist explains why he abandoned abstraction, see “La pintura en Venezuela: Guevara Moreno y la realidad” [ICAA digital archive (doc. no. 1154490)].

Milagros González
Fundación Mercantil, Caracas, Venezuela
Ildemaro Alguindigue, 1969
Centro de Documentación. Museo de Bellas Artes de Caracas. Plaza de Los Museos, Parque los Caobos, Caracas 1010,   República Bolivariana de Venezuela. Telf:  58-212-5726841 / 5735035 / 5764028