Documents of Latin American and Latino Art

In this letter, Joaquín Torres-García declares his intention to promote contemporary Uruguayan art to European audiences. The objective is to create a program designed to provide scholarships or grants from the Uruguayan government for [...]

This letter from Joaquín Torres García to his Uruguayan compatriot, the renowned writer José Enrique Rodó, suggests that both men agreed on the need to encourage the emerging art in their country by exposing young Uruguayan artists to what was [...]

In this letter to the writer José Enrique Rodó, Joaquín Torres García discusses the affinity they share for the Greco-Latin tradition, and expresses his wish to be in touch with contemporary Uruguayan art because, though living in Spain at the [...]

In the early twentieth century, Europe—which had, until that time, been Latin America’s cultural referent par excellence—was deeply immersed in a devastating socio-economic crisis brought about as a result of the First World War. Fascism and [...]

In this article, commentator Darío Achury Valenzuela reflects on the state of relations between the Americas and Europe in the early thirties, on one hand, and between Colombia and the rest of the continent, on the other. The author begins with a [...]

In this text, Rita Eder argues that it is worth considering how Latin American art can distinguish itself from European art, and that it has done this at several points in its history by developing radical ways to integrate art into society. Eder [...]

Luis Beltrán Guerrero, in his re-reading of the famous book from 1900 by José Enrique Rodó, Ariel, diminishes the importance of its criticism of “yanqui” (Yankee) culture, given that in his judgment, the Uruguayan philosopher could not [...]

Critic Mariano Picón-Salas interprets the model proposed by José Enrique Rodó in Ariel (1900) as a symbol of the antagonism between Latin America and the United States. This opposition, caused by the imperialist thirst of the United States and [...]