Topic Descriptor: paintings×
  • ¡Pop!
    Valdivia Portugal, Alberto, 1947-
    1969
    This is a brief letter from the writer Alberto Valdivia Portugal to Caretas magazine about the first prize recently awarded at the painting competition organized by the Festivales de Ancón. After (apparently) congratulating the winner, Luis Zevallos [...]
    ICAA Record ID: 1142123

  • ¡Rivera y Siqueiros lo acaparan todo!
    Climent, Juan B.
    1952
    Juan B. Climent interviews Manuel Rodríguez Lozano, who leaves no doubt about his position regarding the figures of Diego Rivera and David Alfaro Siqueiros in Mexican art. Lozano talks about the need to vindicate the native figure stemming from [...]
    ICAA Record ID: 776602

  • ¡Tamayo se rebela! : Rufino Tamayo, “Cuarto grande” de la pintura mexicana se subleva en un vibrante mensaje artístico
    Climent, Juan B.
    1951
    The art critic Juan Climent thought that Rufino Tamayo’s painting was caught in the crossfire of conflicting opinions. Some thought that his œuvre represented the decadent formalism of the School of Paris, but others saw it as the dawn of a new [...]
    ICAA Record ID: 759012

  • ¿Cómo quiere que responda a Tamayo, en broma, o en serio?
    Rodríguez, Antonio, 1909-
    1947
    José Clemente Orozco believed that opposition to political painting was nothing new in Mexico; it had been around since the start of the mural movement. Some painters tried to stamp out all forms of figurative or representative expression. When [...]
    ICAA Record ID: 755517

  • ¿Cual es el paisaje cubano?
    Juan, Adelaida de
    1987
    In this essay—a historical reflection on the Cuban landscape over the centuries—Cuban critic and historian Adelaida de Juan asserts that, starting in the second half of the nineteenth century, Cuban painters began to envision the natural [...]
    ICAA Record ID: 806521

  • ¿Cuál es la pintura revolucionaria?
    Tamayo, Rufino
    1955
    In artistic circles in those days, according to Rufino Tamayo, anything that was not purely Mexican was roundly rejected, and works that reflected our own experience and personal expression were lavishly praised. This had its positive aspects, but it [...]
    ICAA Record ID: 759040

  • ¿El abandono de su tradicional plataforma ideológica servirá a la pintura mexicana?
    Rodríguez, Antonio, 1909-
    1948
    In this short article by Antonio Rodríguez, the art critic shows his support for an article published in the previous issue of the journal Espacios by the artist Roberto Berdecio, in defense of “social painting.” Rodríguez believes that “ [...]
    ICAA Record ID: 799572

  • ¿es la pintura moderna respecto de la clásica, culminación o retroceso?
    Miró Quesada Cantuarias, Francisco, 1918-
    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 [...]
    ICAA Record ID: 1137431

  • ¿Existe una pintura peruana?
    Acha, Juan, 1916-1995
    1958
    In this article signed “J. Nahuaca”—the anagram he used as an alias—Peruvian critic Juan Acha reflects on whether or not there is a painting tradition in Peru. He discusses the current state of painting on the occasion of the Premio [...]
    ICAA Record ID: 1138182

  • ¿Hacia dónde va la pintura en el Perú¿? : Primer Salón de Pintura
    Valle, Alejandro Romualdo, 1926-2008
    1955
    The author identifies the principal characteristic of the works shown at the Primer Salón Annual de Pintura Peruana “as a strong and cohesive predilection for objectivity.” Among others, he highlights Alfredo Ruiz Rosas for his “successful [...]
    ICAA Record ID: 1138900

  • ¿México tendría hoy una escuela de pintura propia, de haber seguido la ruta de Tamayo?
    Rodríguez, Antonio, 1909-
    1948
    Antonio Rodríguez analyzed Rufino Tamayo’s work, basing his remarks on the retrospective of his paintings exhibited at the Palacio de Bellas Artes. According to the exhibition catalog, Tamayo’s greatest contribution was his handling of color. [...]
    ICAA Record ID: 758248

  • ¿Plagio o lícita búsqueda de lo bello?
    Castrillón, Alfonso, 1935-
    1969
    Alfonso Castrillón weighs in on the controversy that erupted over Motociclista No. 3, the painting by Luis Zevallos Hetzel that won first prize at the Festivales de Ancón (a resort on the outskirts of Lima). The uproar began when the Lima magazine [...]
    ICAA Record ID: 1142187

  • ¿Reinterpretación o Mímesis?
    Noriega, Simón
    1983
    There are five chapters in La Pintura de Héctor Poleo, Simón Noriega’s book about the Venezuelan artist. The one chosen here is chapter III, “El surrealismo de Poleo.” Section 4—“¿Reinterpretación o Mímesis?”—presents Poleo’s [...]
    ICAA Record ID: 1153792

  • ¿Son inmorales estas pinturas? Los murales del pintor González Camarena en el edificio Guardiola actualizan la debatida cuestión de la moral en el arte
    Rodríguez, Antonio
    1942
    The critic Antonio Rodríguez uses this article to defend the murals painted by Jorge González Camarena in the main hall of the Edificio Guardiola, in the center of Mexico City. The author believes that the short newspaper article calling for these [...]
    ICAA Record ID: 804294

  • "Dentro de lo abstracto, lo mío es lo menos abstracto" dice Roda
    Valencia Diago, Gloria, 1927-
    1963
    In this article, published in November 1963, the Colombian journalist Gloria Valencia Diago interviews the Spanish artist Juan Antonio Roda, in connection with the exhibition of his oil painting series, Tumbas,at the Museo de Arte Moderno in Bogot [...]
    ICAA Record ID: 1092563

  • "Julia Codesido y Sabogal son buenos pintores" : Aquilles Ralli cree, además, que muchos sólo buscan la fama por medio de la publicidad
    Ralli, Aquiles, 1925-
    1951
    Painter Aquiles Ralli rejects the comments made by Fernando de Szyszlo that became a national scandal: “there are no painters in Peru.” He juxtaposes the work of the “good artists,” those who diligently “work in silence and never advertise [...]
    ICAA Record ID: 1150882

  • "La importancia de nuestra generacíon es haber puesto al día al Perú artístico"
    1955
    This is an anonymous interview with Fernando de Szyszlo on his successful presentation at the III Salón Moncloa in Lima in 1955. The artist stated that it was the first artistic competition in which he had participated since 1951 due to his distrust [...]
    ICAA Record ID: 1137778

  • "La poesía de Vallejo tiene origen Breton" dice Sabogal
    Orbegozo, Manuel Jesús, 1923-
    1954
    The first part of the interview covers the start of his career and his training in Europe. After living in Buenos Aires (where he returned to his art studies), he returned to Peru in 1919. Sabogal states that “the Cuzco area cast a powerful spell [...]
    ICAA Record ID: 1141080

  • "Omelette" a la Guillermo Marín : en la Galería Carlos Alberto González
    Pignalosa, Maria Cristina
    2001
    The synopsis and the annotations in English are coming soon.                                However, our bilingual readers can click on “Español” to access this information in Spanish [...]
    ICAA Record ID: 1100804

  • "Testimonios" de un nuevo arte colombiano
    Erminy, Perán
    1967
    The art critic Perán Erminy reviews and analyzes the exhibition Testimonios organized by El Techo de la Ballena in the context of an international meeting of this group. In this text, Erminy points out what he finds interesting in this exhibition: [...]
    ICAA Record ID: 1168332

  • [¿Cuán “abstracto” es el arte abstracto?]
    Cherson, Samuel B.
    1984
    In this essay, Samuel Cherson, a Cuban critic living in exile in Puerto Rico, discusses the abstract work produced by the Puerto Rican painter, Wilfred Chiesa. Cherson begins with a brief description of the abstract movement and its major exponents. [...]
    ICAA Record ID: 867211

  • [A bordo do meu primeiro navio...]
    Lima, Medeiros
    1960
    In this excerpt from his book Pancetti (Rio de Janeiro: Ministério da Educação e Cultura, 1960), Medeiros Lima recounts José Pancetti’s first experiences with paintings when he was still a sailor. The section cited begins with the painting work [...]
    ICAA Record ID: 1110455

  • [A pesar que no es un lugar común...]
    Brandt, Alberto, 1924-1970
    1957
    This text by artist Alberto Brandt describes the artistic aims of his exhibition Alberto Brandt. Exposición de pinturas held at the Centro Profesional del Este in Caracas in 1957. As opposed to the “pseudo-classicism,” rationality, and formalism [...]
    ICAA Record ID: 1160234

  • [A principios del presente decenio, en la ciudad de La Plata, un grupo de pintores...]
    López Anaya, Jorge
    1966
    Jorge López Anaya writes about the rapid emergence of Grupo Sí [Yes Group] in the city of La Plata. He analyzes the use of chromatic saturation as a trait typical of the group’s artists. The critic states that the chromatic geometry represents, [...]
    ICAA Record ID: 763674

  • [Ahora que el arte atraviesa una crisis...]
    Estrada, Leonel, 1920-
    1960
    The artist, agent, and art critic Leonel Estrada discusses a series of paintings by Armando Villegas that were exhibited at the Chamber of Commerce in Medellín. These works, in Estrada’s opinion, reveal a departure from the artist’s earlier [...]
    ICAA Record ID: 1133429

  • [Anita Malfatti é uma colorista...]
    Andrade, Mário de, 1893-1945
    1921
    While researching feminine strokes in Anita Malfatti’s painting, Mário de Andrade discerns her impetuous nature, the masculine strength of her colors, and the tragic energy of her subjects, though he also glimpses hints of humor and sadness. He [...]
    ICAA Record ID: 1085102

  • [Ante la decadencia y espíritu negativo...]
    Lozza, Raúl
    1949
    Manifesto included in the catalogue of the Primera Exposición de Pintura Perceptista [First Exhibition of Perceptivist Painting] carried out in Galería Van Riel in Buenos Aires, in October of 1949. Raúl Lozza states that Perceptivism inaugurates a [...]
    ICAA Record ID: 731656

  • [Aparte de ser el seudónimo sortario de Juan Vicente Hernández...]
    Calzadilla, Juan, 1931
    1981
    Curator Juan Calzadilla begins his essay on the Venezuelan painter known as “Pájaro” [Juan Vicente Hernández] by pointing out the similarity between some, though not all, aspects of his work and orthodox Surrealism. Calzadilla comments on the [...]
    ICAA Record ID: 1163174

  • [As an artist I'm not responsible to art history]
    De Romero, Ralph
    1980
    In these two brief articles, Ralph de Romero, a Puerto Rican artist born in New York, states that he feels no responsibility for art history. In other words, it is the artist’s privilege to call anything he creates whatever he wants to call it. De [...]
    ICAA Record ID: 863062

  • [As exposições de pintura brasileira...]
    Bardi, Lina Bò
    1960
    This text was to be placed on the main wall of the exhibition on Brazilian painting organized by the Museu de Arte Moderna da Bahia (MAMB) in 1960. The text asserts that the true innovating power of a culture is found by delving into its popular [...]
    ICAA Record ID: 1110863

  • [Aunque en estas breves cuartillas no me extenderé demasiado en el aspecto histórico de la Pintura en Puerto Rico...]
    Homar, Lorenzo
    1956
    Lorenzo Homar begins these brief notes on Puerto Rican art and artists by discussing painter Francisco Oller. He goes on to state that art should be at the service of society and that artists should not be concerned with imitating avant-gardes who [...]
    ICAA Record ID: 861750

  • [Caberá abrirmos, nesse passo...]
    Machado, Lourival Gomes
    1948
    This is the third chapter of the book by Lourival Gomes Machado that analyzes the development of modern art in Brazil, in which the author includes a reference to the contribution made to contemporary painting by the “spontaneous” artists (whose [...]
    ICAA Record ID: 1110358

  • [Carta de renuncia a la Mención Honrosa otorgada en el Concurso de Pintura Nacional sobre Túpac Amaru]
    Cajahuaringa, José Milner, 1932-
    1971
    With this letter, Peruvian painter Milner Cajahuaringa rejects the honorable mention granted his work at the Concurso Nacional de Pintura [National Painting Contest] organized by the so-called Gobierno Revolucionario de las Fuerzas Armadas in 1970, [...]
    ICAA Record ID: 1141759

  • [Colo emerges from a tradition that emphasizes and inventing of art more than a making of art]
    Ingberman, Jeanette, 1952-2011
    1986
    This essay by curator Jeannette Ingberman analyzes ten years of work by Papo Colo in painting, sculpture, drawing, and performance. According to the author, Colo’s work explores the metaphysical and the spiritual, incorporating organic forms and [...]
    ICAA Record ID: 849870

  • [Creo plenamente en la figuración…]
    Obregón, Roberto
    1967
    In this brief text that appeared in the catalogue of Roberto Obregón’s second solo exhibition held in Caracas at Galería XX2 (1967), the artist presents a creed-like manner in expressing his convictions about art and life, and also commenting on [...]
    ICAA Record ID: 1063124

  • [Deseo que estas obras confirmen que vivo de pie...]
    Luque, Ángel, 1927-
    1964
    In this essay, the Spanish artist Angel Luque, then living in Venezuela, performed a point-by-point review of the pictorial characteristics of his work and his general world attitude. He states that he is in search of a type of painting that is [...]
    ICAA Record ID: 1156720

  • [Después de varias semanas...]
    Eiger, Casimiro, 1909- 1987
    1949
    In this text, Polish art critic Casimiro Eiger praises Luis Alberto Acuña’s art. He specifically mentions the artist’s use of color, the monumentality of his painting, the severity of his sculptural volumes, and his controversial approach to [...]
    ICAA Record ID: 1132676

  • [Dois aspectos contrastantes se encontram nos trabalhos de Paulo Pasta]
    Mammì, Lorenzo
    1989
    This text is an introduction to an exhibition of work by the painter Paulo Pasta at the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP), written by the art critic Lorenzo Mammì. The writer emphasizes Pasta’s pictorial [...]
    ICAA Record ID: 1111264

  • [Domingo García nos ofrece...]
    Rodríguez Otero, Eladio
    1966
    In this short essay, the Puerto Rican attorney, Eladio Rodríguez Otero, comments on the work of Domingo García shown at a 1966 solo exhibition. The writer states that García’s work includes techniques that lead critics to characterize his [...]
    ICAA Record ID: 856804

  • [El arte de la pintura es el arte del espacio...]
    Ospina, Marco, 1912-1983
    1949
    The artist Marco Ospina begins by criticizing Colombian painters who value volume over content and as a result produce totally insignificant work. According to Ospina, there are substantial theoretical lapses in these paintings, which he dismisses as [...]
    ICAA Record ID: 1094284

  • [El desarrollo de la obra pictórica de Susana Amundaraín...]
    Sierra, Eliseo
    1992
    The art critic and researcher Eliseo Sierra reviews a decade of the life and art of the Venezuelan painter Susana Amundaraín, from her beginnings in the 1980s through 1992. After reviewing the art world at the time she began to produce art, the [...]
    ICAA Record ID: 1163845

  • [El dibujo y el grabado han contando en el arte colombiano...]
    Serrano, Eduardo, 1939-
    1976
    The text, ¡Al Fin Pintura! (1976) [Painting, at Last!] was an introduction to the exhibition with the same name at the Galería Belarca in Bogotá, organized by Eduardo Serrano. This art critic emphasizes the acceptance of the drawing and the print [...]
    ICAA Record ID: 1099111

  • [EL jueves 17 de junio a las 18, se inaugurará una exposición de los pintores modernos...]
    1926
    Invitation to the Exposición de Pintores Modernos [Modern Painters Exhibition], which took place at Amigos del Arte [Friends of Art] (Buenos Aires, June, 1926), and included the following artists: Emilio Pettoruti, Norah Borges, Xul Solar, and Piero [...]
    ICAA Record ID: 732226

  • [El nuestro - y es necesario decirlo ene veces- es un arte...]
    Ruiz Gómez, Darío, 1936-
    1979
    Darío Ruiz Gómez introduces the exhibition Darío Jiménez: Obras 1942-1979 [Darío Jiménez: Works 1942-1979] at the Galería Belarca in Bogotá. In this essay Ruiz Gómez states that Colombian art lives off “institutionalized aesthetic truths [...]
    ICAA Record ID: 1099246

  • [El propósito de seguir adelante, de continuar cumpliendo con los objetivos fundamentales...]
    Grupo Espartaco
    1968
    In this document, signed in 1968, the Grupo Espartaco [Spartacus Group] announces the end of the joint activities they had begun in 1959. The group’s original goal was to create an art of forms and content that was truly Argentine and that was also [...]
    ICAA Record ID: 763745

  • [En Buenos Aires, a los cuatro días...]
    Romero Brest, Jorge; Venturi, Lionello
    1960
    The jurors designated to act on the Argentinean Painters Prize of the Torcuato Di Tella Institute, Jorge Romero-Brest and Lionello Venturi, unanimously decide to grant the prize to Mario Pucciarelli for his work De profundis [Out of the Depths of [...]
    ICAA Record ID: 755066

  • [En Colombia, algunas mujeres artistas se han ocupado...]
    Jaramillo, Carmen María, 1958-
    2004
    This is the text for Otras Miradas = Other Glances, written by the historian and art critic Carmen María Jaramillo Jiménez for the exhibition that was organized with the help of the Colombian Ministry of Foreign Affairs in 2004. The exhibition [...]
    ICAA Record ID: 1092368

  • [En la nueva cultura visual,...]
    Laignelet Sourdis, Victor, 1955
    1998
    The Colombian artist Víctor Laignelet discusses the ability in painting to expand its range of action—what he calls its antropofagia [anthropophagy]—as it absorbs “new visual expressions” such as “installations,” exposing the roots of [...]
    ICAA Record ID: 1076692

  • [En los últimos meses, dos hechos negativos...]
    Paparella, Aldo
    1970
    Aldo Paparella refers to two negative events, describing the closing of Instituto Di Tella as the end of thought and freedom of creation, and explaining that Eugenio Daneri had been excluded from an exhibition. It is all part of the crisis that was [...]
    ICAA Record ID: 759379

  • [Esta exposición y muchas experiencias...]
    León Castro, Pedro, 1913-
    1949
    This essay by Pedro León Castro appeared in the catalogue for his exhibition of paintings at the Museo de Bellas Artes de Caracas in 1949. Following a brief introductory paragraph, in which he explains that the exhibition is a reflection of his [...]
    ICAA Record ID: 813765