Documents of Latin American and Latino Art

This text is Alejandro Romualdo Valle’s final round in the debate he carried on with Luis Miró Quesada Garland about the first prize at the Second Salón Moncloa, awarded to the painting Pan by Alfredo Ruiz Rosas. The writer considers the [...]

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 [...]

This time the argument is about the expression “significant painting,” which the author Francisco Miró Quesada Cantuarias contrasts with the term “abstract painting.” He claims that the former has a logical or scientific meaning, which his [...]

This text is writer Sebastián Salazar Bondy’s response to the criticism of artistic nationalism voiced by Luis Miró Quesada Garland in El Comercio newspaper (Lima, September 25, 1955) [see in the ICAA digital archive “En blanca y negra” ( [...]

This newspaper article is about the first Festival Americano de Pintura, organized by the IAC (Instituto de Arte Contemporáneo) and the Asociación Cultural Jueves as part of the Festivales de Lima. The article quotes the Argentinean critic and [...]

In this essay, the author—Luis Antonio Meza—states that the prize for the Festival Americano de Pintura was three thousand dollars and that the jury was composed by the Argentinean critic Jorge Romero Brest, the Venezuelan collector Inocente [...]

This open letter from journalist Jorge Mejía to architect Luis Miró Quesada Garland indicates, to some extent, the terms in which abstract art was questioned when it first emerged in Peru. Mejía ventures a classification of forms of artistic [...]

This text is Sebastián Salazar Bondy’s response to the criticism of artistic nationalism voiced by architect Luis Miró Quesada Garland in El Comercio newspaper (Lima, September 18, 1955) [see in the ICAA digital archive “En blanca y negra” ( [...]

In this text, writer Juan Ríos remarks on the Surrealist exhibition held at the Galería de Lima in July 1954. In his view, Surrealism is outdated. Initially an iconoclastic movement, it has, over the course of several decades that witnessed a [...]

In this text, Sebastián Salazar Bondy reflects on what he views as the unquestionable ties between an artist and his country. For the author, a sense of uprootedness, rather than physical distance, is what causes the artist to become disengaged from [...]

This text is essayist Sebastián Salazar Bondy’s response to the ironic comments that architect Luis Miró Quesada Garland published in “En blanca y negra,” his column in the Lima-based newspaper El Comercio, on July 25, 1954. In his text, Mir [...]

In this article Francisco Miró Quesada Cantuarias replies to the comments made by Luis Miró Quesada Garland (El Comercio, Lima, August 14, 1955) as part of the debate prompted by the latter’s conclusions concerning the newspaper’s survey about [...]

In response to the aesthetic opinions expressed by the architect Luis Miró Quesada Garland, who vehemently denied any influence between society and art, the author states that it is obvious that “the great art movements have had an influence on [...]

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 [...]

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 [...]