Documents of Latin American and Latino Art

In this essay Juan Ríos discusses De Manet a nuestros días, the exhibition of French painting organized by the Municipalidad de Lima in the early 1950s. His review summarizes the origins of modern French art, taking Manet’s work as its focal [...]

This text is the message delivered by painter Sérvulo Gutiérrez to the first convention organized by the Asociación Nacional de Escritores y Artistas (ANEA); the event was held in Lima in September 1955. In his statement, Gutiérrez asserts that, [...]

This text is a transcription of the speech given by writer Sebastián Salazar Bondy at the first convention organized by the Asociación Nacional de Escritores y Artistas (ANEA); the event was held in Lima in September 1955. In Salazar Bondy’s view [...]

This text is Peruvian modern architect Luis Miró Quesada Garland’s final response to a series of articles by Sebastián Salazar Bondy published in La Prensa newspaper (Lima, September and October, 1955). As a correlate, the text quotes poet Walt [...]

In the context of remarks on an exhibition of work by painter Mario Urteaga and the public acquisition of a large set of works by academic portraitist Carlos Baca-Flor, this text by Luis Miró Quesada Garland voices criticism of nationalism in art. [...]

In this article César Moro discusses De Manet a nuestros días, the exhibition of French painting organized by the Municipalidad de Lima. The poet and artist describes French painting as “the best” in the world because of the fusion that [...]

In this text, Luis Miró Quesada Garland enumerates the main formal virtues of the works in the exhibition of Surrealism held at the Galería de Lima in July 1954. In his view, the show reflects none of the movement’s initial aggressiveness in [...]

In this text, Peruvian writer Sebastián Salazar Bondy comments on the exhibition of Surrealist painting held at the Galería de Lima in July 1954. In Salazar Bondy’s view, Surrealism played a fundamental role in forming the language of modern art [...]

In this essay Francisco Miró Quesada Cantuarias explains the term “metaphysical art” that he uses to describe La gran Pietà, the painting by Lajos d’Ebneth, the Hungarian artist who lived in Peru. Cantuarias suggests that only an overly [...]

In this sarcastic review, Alberto Jochamowitz reports on the Arte Madí exhibition at the Colette Allende gallery in Paris, that included works by the Peruvian visual artist and poet Jorge Eduardo Eielson. Jochamowitz mocks the avant-garde [...]

In this text, Luis Miró Quesada Garland offers a categorical response to “Punto final,” an article published by essayist Sebastián Salazar Bondy in La Prensa newspaper (Lima, July 26, 1954) in which he declares his exchange with Miró Quesada [...]

This text is the first of three parts of the essay “Cómo la pintura ha buscado al Perú” written by Sebastián Salazar Bondy. The text was not intended to be “an aesthetic theory,” but rather “a sociological interrogation” geared towards [...]

This is Luis Miró Quesada Garland’s final response to the comments made by Francisco Miró Quesada Cantuarias (El Comercio, Lima, August 21, 1955) regarding the latter’s conclusions concerning the newspaper’s survey about “classical” [...]

In his weekly column in the El Comercio newspaper, Luis Miró Quesada Garland discusses the relationship between ethics and art as part of the debate prompted by the survey about “classical” painting and “modern” painting that was sponsored [...]

Focusing on the issue of the “significance” of art, the author indicates that he agrees with his polemicist in making a distinction between two types of significance: “artistic or apparent” and “logical or associative.” Garland rather [...]

On the matter of the existential “obligations” mentioned by Francisco Miró Quesada Cantuarias, the author challenges the idea that “in order to ‘be’ one has to act.” Believing in an “essential nature of ‘being,’” his relative, [...]

The author rejects the idea—proposed by Francisco Miró Quesada Cantuarias—of renaming figurative art as “significant art,” thus emphasizing the differences between formalism and abstraction. In the author’s opinion, the ambiguity of the [...]

Luis Miró Quesada Garland believes it is necessary to address the questions concerning “art as a product and a form of social expression” posed by the painter Alfredo Ruiz Rosas and the poet Alejandro Romualdo Valle (whom Garland does not [...]