Documents of Latin American and Latino Art

In this essay, Peruvian art critic and diplomat Raúl María Pereira provides an overview of Peruvian painting from the first half of the twentieth century. While the author praises the first generation of academic painters, he believes that their [...]

Here, Edgardo Pérez Luna praises the mural by Teodoro Núñez Ureta executed in the building that housed Peru’s Treasury Department. The writer argues that the allegories created by the painter in the mural elude the conventions of the genre and [...]

This is the first article on the award bestowed to Álvaro Núñez Rebaza by the Tercer Concurso Nacional, the artist selected to erect a monument to Túpac Amaru II, the indigenous forefather of the independence of Peru, at the Plaza de Armas del [...]

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 [...]

This interview with painter and muralist Teodoro Núñez Ureta includes some biographical notes and photographs of his work space. Núñez Ureta asserts that the so-called “isms,” fruit of European decadence, contaminate painting in America. What [...]

In response to the survey published by the Lima newspaper El Comercio as to the difference between “classical” and “modern” art, respondents provided different and, in some cases, contradictory answers. Responding to the question regarding [...]

The author highlights here the intensity of activities on the arts scene of the Peruvian capital in 1954, both for the number and the importance of exhibitions, a fact which, in his judgment, demonstrates the ever-increasing affirmation of the visual [...]

In this letter defending nationalism and figurative art, Edgardo Pérez Luna attacks the comments of Luís Miró Quesada Garland, specifically, Garland’s opinion on abstract artwork by Jean Dewasne and Teodoro Núñez Ureta’s mural in Peru’s [...]

Luis Miró Quesada Garland acknowledges that the mural La construcción del Perú, by Teodoro Nuñez Ureta, entails a commendable attempt to integrate the visual arts with architecture in public buildings. However, he lodges the criticism that the [...]