Documents of Latin American and Latino Art

In this article, the writer responds to the comments of Luis Miró Quesada Garland, defending the use of the category “integral art.” He defines this term as a fusion of different trends into “a new creative orientation” structured under a [...]

In the opinion of Alejandro Romualdo Valle, the work created by Alfredo Ruiz Rosas that recently won a first prize is evidence of a significant improvement in Peruvian art. He sees it as a result of the consolidation of several art trends that are [...]

Here, the writer sketches the artistic development reflected in the work of Alfredo Ruiz Rosas through the five years covered by the exhibition in the Peruvian capital. Bondy acknowledges the persistence of  “the same emotion” in the artist’s [...]

The writer Luis Miró Quesada Garland considers it wrong to brand any painting as either “Neo-Realist” or “Social Realist” based on a subjective interpretation of reality, with idealized figures and/or deformation as (a) technique(s). The [...]

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 [...]

Several European intellectuals responded to the final question in the survey about “classical” painting and “modern” painting that was published in the Lima newspaper El Comercio. Paul Linder states that, in the course of history, there are [...]

Luis Miró Quesada Garland believes it is necessary to address the questions concerning “art as a product and a form of social expression” posed by the painter Alfredo Ruiz Rosas and the poet Alejandro Romualdo Valle (whom Garland does not [...]

In response to the question in the survey published by the Lima newspaper El Comercio as to whether “modern” painting is an improvement on “classical” painting or a step back, the various respondents agreed that different styles from [...]

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 [...]

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 [...]

The writer considers the term “integral art,” coined by Alejandro Romualdo Valle, a rhetorical excess, certainly inapplicable to any particular work, as a general rule. It is also specifically inapplicable to the artwork by Alfredo Ruiz Rosas [...]

While Garland points out administrative and economic problems that beset art competitions in Peru, his emphasis is on the art standards that must remain important after all. This column alludes to comments written by the poet Alejandro Romualdo Valle [...]

The writer Luis Miró Quesada Garland explains why—in spite of being a known defender of Abstract art—he supported a figurative painting by Alfredo Ruiz Rosas for the first prize at the Second Salón Moncloa. His vote was based on strictly [...]

The journalist Manuel Orbegozo imaginatively reconstructs the selection process followed by the jury that awarded the first prize at the Second Salón Moncloa. This interview includes biographical notes on the artistic beginnings of the winner [...]