Documents of Latin American and Latino Art

The reviewer states that indigenist art has found “a new devotee” in Julia Codesido. Responding to her show in Lima in 1929, author Carlos Solari explains the painter has not taken a slavish stance, but rather has evolved slowly “in progressive [...]

In this essay, the author analyses the works created by the Peruvian painter Jorge Vinatea Reinoso in the years following his exhibition at the ENBA (Escuela Nacional de Bellas Artes) in 1926, noting that, after the conclusion of the exhibition, [...]

Article by art critic Carlos Solari (under the pseudonym “Don Quijote”) regarding Manuel Piqueras Cotolí’s work in Lima. [Solari] states that after a decade in Lima during which he made “an immeasurable contribution to the arts of Peru,” [...]

After visiting the ENBA sculpture studios in Lima, the author comments on works by Coello and Pozo, and mentions the sculptress Carmen Saco. He then interviews Manuel Piqueras Cotolí, the architect from Madrid, in whose studio he examines two works [...]

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.” [...]

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,” [...]

In this text, Carlos Solari (alias “Don Quijote”) discusses articles on Peruvian painter Sabogal that appeared in the most important Buenos Aires-based newspapers (three of them in particular). The article in La Prensa speaks of the “modern [...]

The critic Carlos Solari (alias “Don Quijote”) reviews about thirty works that José Sabogal, the founder of Peruvian indigenist painting, brought to Lima after spending several months in Cuzco (c. 1925). In Solari’s opinion, the painter is [...]

In his letter to the art critic Carlos Solari (alias “Don Quijote”), the painter José Sabogal expresses his appreciation for kind words about his work, but challenges two points made by Solari. The first concerns the impression that he is a [...]

The Peruvian art critic Carlos Solari compares José Sabogal’s latest paintings at the Casino Español (1921) to the ones in his previous exhibition at Casa Brandes in 1919, which were described as “disconcerting contradictions” because of [...]

This review notes that despite his youth and his provincial origins, José Sabogal’s talent is beyond dispute. It is precisely because of Sabogal’s evident skill that Carlos Solari decides to point out a few “buts” in the work of this artist [...]