Documents of Latin American and Latino Art

Pedro Figari wrote this letter to José Cúneo, who had recently shown his paintings at a joint exhibition with Bernabé Michelena in Montevideo (1918). The letter, published in the newspaper La Mañana, was Figari’s public recognition of the young [...]

In 1930, Wladimir Raykis (director of Galerie Zak in Paris) sent this letter inviting Uruguayan artists José Cúneo and Bernabé Michelena to exhibit at his exhibition venue which promoted Latin American art between the wars. The dialogue and [...]

In this insightful review of the V Salón Municipal de Bellas Artes, the critic Cipriano Vitureira takes for granted that the worldwide political and social events of the early 1940s demand a renewal in both artistic and thematic terms, particularly [...]

The critic Cipriano S. Vitureira discusses Miguel Ángel Pareja’s painting, approaching it from several different perspectives. For example, assessing the painter’s exploration of new European isms that emerged during the two World Wars, which he [...]

The critic Cipriano Vitureira analyzes the landscapes of the Lunas series by José Cuneo, highlighting his treatment of color, in particular the handling of light and glare. He mentions the Uruguayan European artistic development and his ability in [...]

In chapter six of his book Teseo: Discusión Estética y Ejemplos, Eduardo Dieste analyzes the landscape work of José Cuneo who was an intern while in Europe, and his trajectory then continued in Uruguay during the early twenties. It was divided [...]

The essay “El drama de la pintura” is the first chapter of the book Teseo, Discusión estética y ejemplos, written by Eduardo Dieste, the Uruguayan essayist and playwright. In 1923, he helped to establish the group Teseo. In the before mentioned [...]

This essay is a chapter from the book by Eduardo Dieste, Teseo, discusión estética y ejemplos, published in 1925. Many of the chapters were articles that were published since 1923 in the magazine produced by Teseo (Agrupación de Artistas y [...]

In this essay that originated from within the C.T.I.U. (Confederación de Trabajadores Intelectuales del Uruguay), the case was taken of a “sample of aspirants to artistic wages in 1933” with the intent to demonstrate the crisis in the quality of [...]

After a number of years of inactivity, the Comisión Nacional de Bellas Artes (CNBA) was restructured in 1967. While the commission was largely supportive of the Uruguayan government, it included a wide range of representatives of the artistic and [...]

While art critic Jorge Romero Brest’s influence was international in scope, it was particularly great in Latin America and the Río de la Plata region. His regional prestige as a lecturer was also considerable and, in 1940, he was invited to give a [...]