Documents of Latin American and Latino Art

This essay by the Spanish writer Guillermo de Torre is divided into two separate sections. The first is about the Universidad Nacional Autónoma de México (located in Mexico City, in Valle del Pedregal de San Ángel), a project in which several [...]

In his review of the XIX Salón de Arte Venezolano (1958), the critic Perán Erminy notes the ingenious reliance on historical criteria in the arrangement of works selected for the event, from the old landscape masters to the new style of Abstract [...]

In this text, Alfredo Boulton considers the works by Venezuelan painter Mateo Manaure on exhibition at the Museo de Bellas Artes. After discussing Manaure’s participation in projects that engage architecture, Boulton examines the specific [...]

In this text, the critic Juan Calzadilla develops his thoughts on the collages created by the Venezuelan painter Mateo Manaure. His analysis considers the start of the integration of photography into the visual arts in the early twentieth century. [...]

This essay by the Venezuelan researcher José Luis Guevara was published in the catalogue for the exhibition Un lector, algunos diseñadores gráficos, una década, at the Museo de Bellas Artes in Caracas. Guevara reviews the work of six Venezuelan [...]

In this volume, Juan Calzadilla provides an overview of Venezuelan painter Mateo Manaure’s artistic development. After an initial reflection on the poetic as a constant in Manaure’s art, he analyzes the different stages of his work: his early [...]

Critic Perán Erminy reflects on Mateo Manaure’s Pinturas sobremontaje. After describing the Venezuelan painter’s body of work as “unclassifiable,” Erminy discusses Manaure’s unique vision in relation to his creative effort at the time of [...]

In this text, Juan Calzadilla critically reflects on Mateo Manaure’s “pinturas sobremontaje” conceived as a combination of painting and photography. In Calzadilla’s view, these works represent continuity, rather than rupture, within Manaure [...]

In this text, French critic Gaston Diehl discusses the work of Venezuelan painter Mateo Manaure, specifically the group of works featured in the show Collages held at Galería Cuatro Vientos in 1954. Diehl praises the small and “humble” works in [...]

In this essay, the critic Roberto Guevara reviews the Venezuelan painter Mateo Manaure’s career, referring to his different stages and radical changes. Guevara discusses Manaure’s abstract, surrealist, and informalist works over the course of [...]

This interview by journalist Pedro Lhaya with artist Mateo Manaure contains remarks the artist made in the context of the exhibition Suelos de mi tierra. In his opening comments, Lhaya describes the work of the Venezuelan painter as the expression of [...]

Journalist Teresa Alvarenga interviews painter Mateo Manaure on the occasion of his fiftieth birthday. The artist recounts his life story, starting with his first job in 1941. He describes how he got involved in the world of printing and graphic art [...]

The critic Roberto Guevara comments on Mateo Manaure’s pinturas sobremontaje. In the critic’s opinion, this series represents one of the artist’s most noteworthy contributions, after his achievements in the field of geometric abstract art, [...]

Journalist Esteban Yepes interviews Mateo Manaure for his exhibition Mirar a América [Look to America], which signals his return to figurative [art]. The Venezuelan painter discusses the need to express himself in a new language, but clarifies that [...]

The critic Víctor Guédez discusses the Venezuelan painter Mateo Manaure’s career, which is characterized by radical changes in his artistic language from one phase to another. Guédez defines the process of creation as being less evolutionary [...]

In this text, Roberto Guevara provides a brief critical overview of Venezuelan artist Mateo Manaure’s artistic development. In Manaure’s case, Guevara explains, it is difficult to apply the idea that all aspects of an artist must be taken into [...]

Here, Gloria Carnevali gathers the statements made by Mateo Manaure about his series Columnas policromadas. Throughout the text, the Venezuelan painter addresses the different elements of expression on which he bases his approach: repetition of a [...]

This unsigned newspaper article [dated September 2, 1960,] comments on the detention in México of the painter David Alfaro Siqueiros. As a result, 90 Mexican visual artists withdrew from participating in the Second [Inter-American] Painting and [...]

In Bernardo Chataing’s preface, he explains that the Taller Libre de Arte (TLA) invited young painters to participate in its exhibition, which would hold them responsible for creating new art forms. In turn, this would generate multiple trends. The [...]

“Luis Navarro” (possibly a pseudonym of the author) meticulously describes the participation of each one of the artists involved in the arts integration project led by architect Carlos Raúl Villanueva at the Ciudad Universitaria of Caracas. [...]

Adopting a different tone from the one he used in his previous article (“El regreso a lo funcional y a lo decorativo”), Miguel Otero Silva assures his readers he has nothing against new trends in art; but he objects to the assumption that [...]

In the first part of this essay Alejandro Otero, a member of Los Disidentes—the group formed by young Venezuelan artists living in Paris—discusses the young painter Mateo Manaure’s experiences since he left Caracas and came to the French [...]