Documents of Latin American and Latino Art

According to the author, Julia Codesido’s work has become “increasingly unreal” and is thus more like modern painting, which makes no attempt to present an objective version of the subject matter. According to Jorge C. Muelle, “Julia invents [...]

This is the review of the exhibition of works by Julia Codesido at the Delphic Studios gallery (New York, 1936), originally published in El Universal Gráfico de México and reprinted in the Lima newspaper La Crónica. The writer of the Mexican [...]

In this article, the essayist and art critic Mercedes Gallagher de Parks discusses the pottery produced in the Amazon region of Peru, noting the wide variety of pieces and their surprising aesthetic. Very little is known about this pottery other than [...]

In this article, Mercedes Gallagher de Parks reviews two exhibitions in Lima: one consisting of works by the Indigenist painter Camilo Blas (at the Instituto Bach); the other a collection of works by the English painter Fred Stratton (at the Sociedad [...]

In this article, Mercedes Gallagher de Parks discusses the Peruvian Indigenist movement. In her opinion, attempts to recognize and affirm the indigenous population could create “murky ambitions and small-minded hatred.” She thinks the channels [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

In this review “Juan Eye” (the pseudonym used by the writer Sebastián Salazar Bondy) discusses the José Sabogal exhibition at the SAP (Sociedad de Arquitectos del Perú, Lima). The author states that Sabogal deserves to be acknowledged in the [...]

Nota periodística sobre la trayectoria artística de José Sabogal, entonces trabajando en una nueva pintura de título Garcilaso. El autor señala que “en el rostro de la figura defínense, gracias a un hábil efecto de luz, las dos razas”, y a [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

In this essay [Mario] Razzeto discusses the work by Guamán Poma de Ayala—a chronicler of Inca lineage and author of Nueva Crónica y Buen Gobierno (1615)—explaining that it is a history of discourse or records of events that are juxtaposed [...]

This essay was written by the agronomist and specialized Andean culture researcher José Sabogal Wiesse for the brochure for the exhibition Q’ori Taq’e. Taller de artes de Sarhua that was held at the Huamanqaqa Gallery in Lima in [...]

In this interview, Primitivo Evanán Poma explains to Nilo Espinoza that in Sarhua, the country village where he was born, “it was the custom that relatives would give quelcas or painted wooden boards to families that built a house and put a roof [...]

This text was written by Félix Nakamura for the catalogue for the exhibition Los pintores de Sarhua, that took place at the Huamanqaqa Gallery in Lima in 1977. Nakamura provides an account of his visit to the workshop operated by the artists Víctor [...]

In this essay Pablo Macera states that although various anthropologists had studied the social organization of Sarhua (in the Departamento de Ayacuco), nothing was known about the quelcas or painted boards produced in this region until a few years [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

This article about José Sabogal and his work, published in the Peruvian newspaper El Comercio, was written by Óscar Esculíes after visiting the artist’s workshop at the ENBA (Escuela Nacional de Bellas Artes). According to the Paraguayan writer [...]

The author notes that the furniture and the decorations on the ceilings, floors, and walls of the Peruvian Pavilion at the Sevilla Expo are all the work of José Sabogal, expressed “in the vernacular style that both moves and captivates him.” [...]

This newspaper article states that, in the ten years since the death of Daniel Hernández, the first director of ENBA, very little “progress has been made, due to the regrettable guiding principles of a faculty” that is committed to imposing an [...]

In his article, Guillermo Rouillón deplores the dismissal of José Sabogal from his position as director of the ENBA (Escuela Nacional de Bellas Artes). According to Rouillón, Sabogal is undoubtedly “the promoter and guide of Peru’s entry into [...]

In August 1943 a ceremony was organized at the Cabane Club in Lima to honor José Sabogal. This document includes the honoree’s speech as well as the one given on that occasion by the poet José Gálvez, who refers to his doctoral thesis on [...]

This is an open letter—signed by the directors of the Sociedad de Bellas Artes del Perú—to the Minister of Public Education Enrique Laroza, that was published in the Lima newspaper La Prensa. The signatories express their agreement with the [...]

The signatories to this open letter addressed to the then-president of Peru, Manuel Prado, request that José Sabogal be reinstated as director of the ENBA (Escuela Nacional de Bellas Artes). They point out that ever since he was appointed (in 1932 [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

The author claims that José Sabogal’s ouster from the leadership of the ENBA (Escuela Nacional de Bellas Artes) is both a political and a spiritual event. Garrido insists that, ever since Sabogal was appointed as director, “his life and his [...]

The Peruvian intellectual Jorge Falcón interviews José Sabogal about the painter’s visit to Mexico in 1942, mentioning that on his arrival in the country, the Mexican government—via the director of the Instituto Nacional de Bellas Artes y de [...]

The Peruvian intellectual Jorge Falcón interviews José Sabogal about his visit to several cities in the United States in 1942 at the invitation of the State Department. Sabogal admits that until then, he did not have a complete view of the [...]

According to César Francisco Macera, José Sabogal’s first exhibition in Perú (Lima, 1919) had a profound impact on the country; viewers were astonished and appalled at “the new landscape” they were looking at. Sabogal responded to critiques [...]

This is the responses given by José Sabogal, the founder of the Peruvian indigenous painting movement, to a questionnaire on the cultural situation in Peru. He proclaims his faith in the idea of a purely Peruvian kind of art, since it embodies “ [...]

The author clarifies that he has not yet been to the capital of Peru, but this has not prevented him from visiting José Sabogal’s Exhibition of Woodcut Prints in Lima time and time again. There is nothing absurd about it, says José Eulogio [...]

In this article the writer and journalist José Eulogio Garrido discusses the indigenist painting of José Sabogal. Garrido describes the painter as “a man with a voice and vision of his own who expresses that voice and vision in visible ways that [...]

This review, by the Peruvian essayist and art critic Mercedes Gallagher de Parks, is about the exhibition of work by José Sabogal at the Lima Country Club in 1940. The reviewer reproaches the artist, saying that “though he can paint magnificently [...]

Though he does not mention a change as such in José Sabogal’s latest paintings, the author detects the presence or hint of certain nuances he had not noticed before. Carlos Raygada compares Procesión del Señor de los Milagros—painted in 1923, [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

In his article about the exhibition of works by José Sabogal held at the Sociedad Filarmónica in Lima in 1937, Estuardo Núñez suggests that Sabogal’s paintings were not just the product of a particular school or trend but were required [...]

In 1937, Ricardo Peña wrote about José Sabogal’s work on the occasion of his exhibition at the Sociedad Filarmónica, suggesting that the paintings on display could be classified, in terms of “his ethical and artistic approach,” into three [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

Carlos Raygada claims that José Sabogal’s work combines technical mastery with a “moody” aesthetic to produce an accurate expression of the country’s sensibilities. The critic describes Sabogal’s paintings as unusually controversial [...]

In his review of José Sabogal’s 1937 exhibition, the author claims that an analysis of the evolution of the painter’s work reveals “a single driving thought and a single, constant desire for modernity, as well as a sense of the vernacular.” [...]

Óscar Fritz compares José Sabogal’s influence on the Peruvian visual arts to Martin Luther’s impact during the Reformation: a process that “sought to return to an earlier simplicity, to embrace a form of evangelical speech that mimicked the [...]

This article was published in January 1933 on the occasion of ENBA’s exhibition of paintings by Daniel Hernández, who was the first director of the Peruvian Escuela Nacional de Bellas Artes [National School of Fine Arts], and by the school’s [...]

The author of this article is entranced by José Sabogal’s use of color in his works. He also thinks the painter has already expressed, in some of his paintings, an undeniable sense of “Peruvian-ness,” forging a new technique that blends the [...]

In the author’s opinion there has seldom been a fairer appointment, because José Sabogal is not a token candidate, he is a hard-working painter. Another factor is the “authentic Peruvian-ness” of what José Eulogio Garrido calls the fervent [...]

Luis Alberto Sánchez wrote this article on the occasion of the closing of José Sabogal’s exhibition at the Universidad Nacional Mayor de San Marcos (Lima, 1931). According to Sánchez, “Sabogal is a painter who represents all of Peru,” and [...]

Espinoza Saldaña thinks José Sabogal has been making some profound changes in his work since his first exhibition in Lima. He comments in particular on the artist’s realism which makes no attempt to please, unlike those who are still enraptured [...]

According to the author of this article José Sabogal is, above all, “someone who expresses Peruvian-ness,” one who has not only developed an original technique, but has also managed to expose profound and unprecedented aspects of the country’s [...]

In this text, José Sabogal, who is outraged, writes about a colonial fountain in the city of Cuzco that has been “savagely and mercilessly torn from its secular place.” That fountain, the painter explains, was “the people of Cuzco’s favorite [...]

The author of this article thinks that Peru does a better job of addressing its potential in the artistic arena than in the social or political sphere, although this has begun to change in recent years. In his opinion, José Sabogal’s paintings are [...]

In this article, Carlos Solari asserts that the medium of “wood engraving has always been very suggestive” for painter José Sabogal. “The synthetic quality that it requires [befits] the temperamental characteristics for which he is known,” [...]

López Merino begins his article by remarking on the success of Sabogal’s exhibition in Buenos Aires, “where the most discerning critics acknowledged the respect he enjoys in Latin America.” The writer describes the exhibition of prints as a [...]