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    Tres pintores contra la regresión : Luis Guevara Moreno, Julio Pacheco, Jacobo Borges
    Revista Resumen (Caracas, Venezuela). -- Vol. IX (Nov. 16, 1975)
    Journal article – Reviews
    Revista Resúmen (Caracas, Venezuela) "Tres pintores contra la regresión : Luis Guevara Moreno, Julio Pacheco, Jacobo Borges." Vol. IX (November 16, 1975)

In this anonymous article, visual artists Jacobo Borges, Luis Guevara Moreno, and Julio Pacheco voice their opinions of the image of Simón Bolívar the Liberator created by José Campos Biscardi. Guevara Moreno remarks on the conditions that make representations of historical themes necessary and on the cultural and historical motivations for them. He provides a human and national perspective, stating that “it is necessary to humanize historical figures, to present them with their virtues and flaws, in their grandeur and weakness, genius and ineptitude.” That, Guevara Moreno argues, is the only way to make their messages—many of which continue to be relevant and insightful—clear and communicable. Borges, on the other hand, asserts that the problem is the desire to show versions of Venezuelan history that serve the interests of only a small group—idyllic and erroneous versions. Similarly, Pacheco states that new visual languages must be created to interpret history and its figures in order to “discover the specific meaning [they] acquire for each generation.”


Visual artists Jacobo Borges, Luis Guevara Moreno, and Julio Pacheco express their opinions of the polemic image of Simón Bolívar created by José Campos Biscardi in 1975. The article evidences Guevara Moreno’s view of historical themes and, mostly, of the most human way of depicting them. His views draw from and reinforce those of Borges and Pacheco, who were also major artists of his generation. Guevara Moreno also emphasizes the need to go beyond univocal interpretations of Venezuela’s historical figures so that each era can interpret them according to its needs—different versions depicting different stages of a figure like Bolívar, for instance. This position attests to Guevara Moreno’s visual and formal interests: his realist-figurative inclination goes far beyond “the formal” since he even engages realism on a “conceptual” level.

Lizette Álvarez Ayesteran
Fundación Mercantil, Caracas, Venezuela
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