Documents of Latin American and Latino Art

For the author, Carlos Reygada, the works exhibited exemplify a presumptuous attitude that merely imitates the “penultimate” European trends, although without first grounding them in a serious study of the pictorial material. In his judgment, [...]

In this critical review of the exhibition of works by Enrique Kleiser at the Galería de Lima in October 1950, Carlos Raygada praises the painter’s bold attempt to ignore his academic roots and experiment with the abstract ideas that “are in [...]

In this text, critic Carlos Raygada comments on the show of abstract paintings by fellow Peruvian Fernando de Szyszlo held at the Sociedad de Arquitectos del Perú in Lima in May 1951. While Raygada praises the works’ “total commitment to the [...]

This article by the critic Carlos Raygada is about the painter and poet César Moro, considered “one of the few exponents of modern art in Peru.” According to Raygada, Moro’s work is unknown because it “never appears in the kind of [...]

After remarking on painter Ricardo Grau’s career in Europe, Carlos Raygada praises the maturity of Ricardo Grau’s work evident “in the sobriety of form and color essential to the work on exhibit.” The palette in Grau’s production, Raygada [...]

In this text, art critic Carlos Raygada asserts that, though Mario Urteaga has never before shown his painting in the capital, his work is not that of a beginner. Raygada describes Urteaga as a self-taught artist who, because he began painting in the [...]

In this text, art critic Carlos Raygada points out that Mario Urteaga’s painting became well known pursuant to his previous exhibition at the Sala Alcedo in Lima (1934) and to winning first prize at the V Salón de Verano de Viña del Mar (1937). [...]

In his interview with Carlos Raygada, Héctor Velarde explains that his work “has consisted of coordinating and realizing the original concept” for the Basílica de Santa Rosa de Lima, while abstaining as much as possible from any alteration of [...]

In this text, art critic Carlos Raygada asserts that Vinatea Reinoso is one of the “most refined and legitimate proponents” of “genuinely Peruvian painting.” The author makes reference to the most outstanding work in the reigning pictorial [...]

In this text, critic Carlos Raygada remarks on the Antonino Espinosa Saldaña exhibition at the Asociación Entre Nous in Lima. He praises the “enduring aesthetic result” of what he deems “a perfect fit between theme and procedure.” He warns [...]

In the reviewer’s opinion, this exhibition confirms the undeniable progress that Julia Codesido has made in her work. Carlos Raygada claims that in this, her sixth exhibition at the Academia Nacional de Música in Lima, Codesido has turned away [...]

Though he does not mention a change as such in José Sabogal’s latest paintings, the author detects the presence or hint of certain nuances he had not noticed before. Carlos Raygada compares Procesión del Señor de los Milagros—painted in 1923, [...]

Carlos Raygada claims that José Sabogal’s work combines technical mastery with a “moody” aesthetic to produce an accurate expression of the country’s sensibilities. The critic describes Sabogal’s paintings as unusually controversial [...]

In his article, Carlos Raygada clarifies that Alicia Bustamante’s growth as a painter is not based solely on the development of the technical skills she learned at the ENBA (Escuela Nacional de Bellas Artes); that growth also demonstrates a “ [...]