Documents of Latin American and Latino Art

This anonymous article provides a brief review of the exhibition schedule that the Venezuelan artist, curator, and museologist, Miguel Arroyo, who at the time was the director of the Museo de Bellas Artes de Caracas, is organizing. The curator’ [...]

In his review of the XIX Salón de Arte Venezolano (1958), the critic Perán Erminy notes the ingenious reliance on historical criteria in the arrangement of works selected for the event, from the old landscape masters to the new style of Abstract [...]

This anonymous text provides a detailed review of the rooms and halls of the Museo de Bellas Artes (Caracas) containing the works of the XVIII Salón Oficial de Arte Venezolano (1957). The works, according to the author, were grouped in the space by [...]

In this anonymous article, visual artists Jacobo Borges, Luis Guevara Moreno, and Julio Pacheco voice their opinions of the image of Simón Bolívar the Liberator created by José Campos Biscardi. Guevara Moreno remarks on the conditions that make [...]

Critic Perán Erminy expresses his opinion of the works by Venezuelan artist Luis Guevara Moreno exhibited at the Sala Mendoza in Caracas. He asserts that because Guevara Moreno has replaced “intimate and autobiographical lyricism” with the [...]

The writer J. R. Guillent Pérez interviews Luis Guevara Moreno. The conversation reveals, in great detail, why the Venezuelan painter stopped working in an abstract style. Guevara Moreno states that the concerns and “anxieties of people today” [...]

This interview with Venezuelan painter Luis Guevara Moreno was held after he had been awarded first prize at the Salón Arturo Michelena. In it, the artist enumerates the opportunities he had to participate in exhibitions in Paris. He also mentions [...]

This article examines how Rómulo Gallegos’ writing influenced Luis Guevara Moreno’s painting. The author quotes the painter’s description of producing paintings that illustrate “the setting in a Gallegos story.” Guevara Moreno explains how [...]

Luis Guevara Moreno describes drawing as “the quickest and most efficient way to capture form vividly.” He views drawing as the clearest way to convey a thought, calling it an especially pure form of expression in terms of both “the means and [...]

In this interview, Luis Guevara Moreno tells the journalist Lenelina Delgado that the best way to produce an ‘anthological’ exhibition is to do it when the artist in question is dead, and cannot intervene and pressure the organizers to make a [...]

The historian Juan Carlos Palenzuela reviews the work of the Venezuelan visual artist Luis Guevara Moreno. In the author’s opinion, the works selected for the exhibition at the GAN (Galería de Arte Nacional) do not present a very clear or definite [...]

Journalist lldemaro Alguindigue interviews Luis Guevara Moreno after he had been awarded the prizes in drawing and printmaking at the XXX Salón Oficial Anual de Arte Venezolano. In the interview, the artist speaks of the recent abolishment of the [...]

The journalist Néstor Mora reviews the exhibitions that opened on Sunday, November 3, 1968, in the Venezuelan capital. He highlights two events in particular: the exhibition of paintings and engravings by Luis Guevara Moreno at the Galería [...]

In Bernardo Chataing’s preface, he explains that the Taller Libre de Arte (TLA) invited young painters to participate in its exhibition, which would hold them responsible for creating new art forms. In turn, this would generate multiple trends. The [...]

This essay by the critic and curator Roberto Guevara appeared in the catalogue for the exhibition 10 pintores venezolanos de la nueva figuración. In his opinion, figuration has gone down the same cyclical and unstable path as all the other [...]

In the final article in his series “Conceptos concretos sobre la pintura abstracta,” the Venezuelan journalist and writer Miguel Otero Silva refers to a poll conducted by the French magazine Preuves [Proofs], in which the forty-eight young [...]