Documents of Latin American and Latino Art

This text is Alejandro Romualdo Valle’s final round in the debate he carried on with Luis Miró Quesada Garland about the first prize at the Second Salón Moncloa, awarded to the painting Pan by Alfredo Ruiz Rosas. The writer considers the [...]

In this article, the writer responds to the comments of Luis Miró Quesada Garland, defending the use of the category “integral art.” He defines this term as a fusion of different trends into “a new creative orientation” structured under a [...]

Alejandro Romualdo Valle critiques the III Salón de Pintura Manual Moncloa which, in his judgment, posits “abstract art as a complete substitute for art,” arguing that abstraction divides man from art, thus debilitating the latter. [He states] [...]

In the opinion of Alejandro Romualdo Valle, the work created by Alfredo Ruiz Rosas that recently won a first prize is evidence of a significant improvement in Peruvian art. He sees it as a result of the consolidation of several art trends that are [...]

In this interview, Alejandro Romualdo Valle (“Xanno”) reacts to the ideological turn that the debate as to whether or not there are painters in Peru has taken. He states that the real problem facing Peruvian art “is the lack of critics.” [...]

This is the sleeve of the 45 RPM vinyl record on which the well-known poet and cultural critic Alejandro Romualdo recorded his most famous poem, Canto Coral a Túpac Amaru, que es la libertad. The cover art is a Pop version of a conventional image of [...]

This text was written by the art critic Alejandro Romualdo on the national contest that was organized to select the artist who would create a monument to Túpac Amaru II, the indigenous forefather of Peru’s independence at the Plaza de Armas of [...]

The author identifies the principal characteristic of the works shown at the Primer Salón Annual de Pintura Peruana “as a strong and cohesive predilection for objectivity.” Among others, he highlights Alfredo Ruiz Rosas for his “successful [...]

The author argues that the confusion between the terms “universal” and “cosmopolitan” was caused by “the disagreeable and audacious accusation of the ‘made in Paris’ [artists],” who oppose the idea of a national art. In his opinion, [...]

In this article Alejandro Romualdo questions the “esoteric” label that is placed on “primitive” and pre-Colombian art. The author rejects the idea that it has an “impregnable, supernatural nature,” promoted by intellectuals that [...]

In this article, poet Alejandro Romualdo Valle expresses his opposition to abstract art. In his view, the formal explorations of Cubism—particularly of Picasso—have placed “modern painting or, rather, the French school” at a crossroads. [...]