Documents of Latin American and Latino Art

In this article, the editor of the newspaper Noticias de Arequipa interviews José Sabogal on the occasion of the artist’s visit to Arequipa, and they talk about contemporary Peruvian painting and traditional art. On the former topic, Sabogal [...]

José Sabogal states that his commentary regards what occurred before the creation of the Museo de Artes Vernaculares, the latter being indispensable because they possess “holdings that are essential to this time, as they have been throughout all [...]

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 [...]

This introductory essay appeared in the exhibition catalogue for the retrospective of the painter Alicia Bustamante at the Museo de Arte y de Historia de la Universidad Nacional Mayor de San Marcos (Lima, 1974). The essay was written by the historian [...]

The author, José María Arguedas, discusses the work of the late Alicia Bustamante, recently deceased, explaining that she “came of age as an artist in Lima during the years of [José Carlos] Mariátegui’s influence and the repercussions of the [...]

In this newspaper article, Winston Orrillo announces the death of the painter Alicia Bustamante, and above all, acknowledges her contributions to a greater appreciation for traditional Peruvian art. She traveled all over the country collecting work [...]

This document is the letter sent by eminent Peruvian intellectuals, writers, and artists to Benjamín Roca Muelle—president of the Corporación Nacional de Turismo—upon learning that the property that houses “Pacho Fierro,” a folk music venue [...]

This article by Alfonsina Barrionuevo was written on the occasion of the celebration of twenty-five years of “Pancho Fierro,” a folk music venue in Lima that the author describes as a “corner of Peru in its purest form embedded in the great [...]

In his article, Carlos Raygada clarifies that Alicia Bustamante’s growth as a painter is not based solely on the development of the technical skills she learned at the ENBA (Escuela Nacional de Bellas Artes); that growth also demonstrates a “ [...]

In his critical review of Alicia Bustamante’s 1944 exhibition, Fuentes Ibáñez explains that the artist manages to harness “emotional and harmonious moods” to express “the feelings inspired by her surroundings.” He explains that Bustamante [...]