Documents of Latin American and Latino Art

Poet and occasional art critic Jorge Gaitán Durán asserts that the show Pintores colombianos jóvenes [Young Colombian Painters] was historically significant because it was the first salon of young artists held in Colombia. He states that the event [...]

According to the Brazilian sociologist, Gilberto Freyre, Franciscan nominalism constituted the scientific training of Europeans, especially the Portuguese. This was particularly true with reference to the fifteenth-century discoveries that led to the [...]

According to the Brazilian sociologist, Gilberto Freyre, Franciscan nominalism constituted the scientific training of Europeans, especially the Portuguese. This was particularly true with reference to the fifteenth-century discoveries that led to the [...]

With his manifesto, David Alfaro Siqueiros sought to position the avant-garde project anew, doing away with belated modernism and impressionism, in favor of Cubo-Futurist expressions and the incipient eruption of Dadaism. This eagerness for [...]

In this article, the critic Roberto Guevara harshly rebuts the theses of Marta Traba, who argued in the mid-1960s that Latin American art had been “depersonalized” and contaminated by the “mimicry” of international art. Guevara, who felt the [...]

In this article, the art critic Sérgio Milliet continues an ongoing debate with his colleague Luiz Martins. This debate had played out in installments in publications such as Arte e Polêmica, as well as in lectures on a couple of themes that were [...]

This essay was included in the catalogue for the Exposição de Pintura Brasileira held in London in 1944. Organized by the critic Rubén Navarra, the show presented a broad selection of Brazilian paintings that covered the transition from the 1930s [...]

This document is a reply by Mário de Andrade to the poet Carlos Drummond de Andrade, dated November 22, 1924. In it, de Andrade voices his opposition to what he considers to be the false binomial that distinguishes national from universal criteria, [...]

In the editorial published in this sixth edition of the magazine Festa, Tasso da Silveira claims to see a kind of “violence” in Brazilian modern art that wants to create an all-embracing future. In his opinion there are three modernist movements [...]

In the Coloquio III [Symposium III], titled “Mexicanismo y Universalidad” [Mexicanism and Universality], Rufino Tamayo criticizes the “patriotism” of some of his contemporaries, explaining that Mexican art should not be limited to recognition [...]