In this essay the critic Francisco Márquez reviews three series of paintings by Miguel von Dangel: Mapas, Oro de América [or Calcos en Oro], and Tierras [or Encapsulados], in which he detects three different ways to approach the Venezuelan and Latin American landscape. In these works, according to Márquez, the artist returns to the Latin American natural world, bringing with him a certain “order” that is both heterogeneous and dramatic; a mysterious nature that von Dangel portrays as real-magical and still hidden. In Mapas, says Márquez, von Dangel shows a view of nature with no central point; his gold pieces, on the other hand, are a magical view of nature. Finally, in Tierras, the landscape expresses both accusation and celebration, revealing an undeniable desire for permanence.

In his penetrating review of the series Mapas, Oro de América [or Calcos en Oro], and Tierras [or Encapsulados], three of the most celebrated works by the German-born visual artist Miguel von Dangel (b. 1946), Francisco Márquez (b. 1943) discusses the subject of the Americas in erudite terms. The Chilean critic and historian draws on his knowledge of mythology, history, art, literature, philosophy, and geography to identify and explain the deep Americanist roots of these works. He also mentions the symbolic, heterogeneous universe that von Dangel creates in his studio in a baroque, atemporal, open space bisected by many axes. The Mapas series is based on maps of Venezuela to which von Dangel adds paint and other materials (such as animal skins). The artist views this process as a new way to appreciate the Venezuelan terrain. The Calcos en Oro are sculptural pieces that depict small animals living in the Venezuelan jungle or the native flora (bathed in gold or silver). Rather than suggesting jewelry, however, they represent the alleged progress that destroys nature. In the Encapsulados, land, stuffed animals, and vegetation are suspended in polyester. They all show nature captured and removed from its vital functions. This essay by Márquez was written as the prologue in the catalogue for the exhibition Tres aproximaciones hacia el paisaje venezolano (Caracas: Sala Mendoza, 1982). In addition to Márquez’s essay, the catalogue also includes photos by Paolo Gasparini. [To read other critical articles about his work, see in the ICAA digital archive by Yasmín Monsalve “Mi obra ha tenido que luchar contra muchos prejuicios: un premio nacional visto con la luz de Petare” (doc. no. 1102125); the essays by Elsa Flores “Miguel von Dangel: la respuesta latinoamericana (I)” (doc. no. 1155150), “Miguel von Dangel: la respuesta latinoamericana (II)” (doc. no. 1154906), and “Miguel von Dangel” (doc. no. 1056044); by Roberto Montero Castro “Transfiguraciones de Miguel von Dangel” (doc. no.1153996); the essays by María Luz Cárdenas “La Batalla de San Romano de von Dangel (I)” (doc. no. 1154028), and “La Batalla de San Romano de von Dangel (II)” (doc. no. 1154092); by Ruth Auerbach “Hoy, el paisaje es aquí y ahora” (doc. no. 855314); the interview by Axel Stein “Interview with Miguel von Dangel” (doc. no. 1102348); the one with María Cecilia Valera “Entrevista con Miguel von Dangel” (doc. no. 1154060); and the the interview by María Josefa Pérez “Miguel von Dangel: No creo el cuento de que Reverón era loco” (doc. no. 1154012); and, finally, the articles by Víctor Guédez “Lo barroco y lo simbólico en la obra de Miguel von Dangel” (doc. no. 1154124), and by Francisco Da Antonio “Cristos de Miguel von Dangel” (doc. no. 1154108)].