Documents of Latin American and Latino Art

The Argentinean visual artist Antonio Berni frequently visited the city of Montevideo from 1938, producing various exhibitions; in this article, he expressed his social and political vision of mural art, attributing it with a “constructive” [...]

This article was written by “Eleuterio de Castro,” the pseudonym of the Colombian conservative politician who later became president of Colombia, Laureano Gómez Castro (1950?53) about an exhibition of painting by Ricardo Gómez Campuzano. The [...]

This brief review of an exhibition of work by Ricardo Gómez Campuzano at the Museo Nacional in Bogotá by the art critic who came from Austria, Walter Engel (signs “W.E.”), analyzes two characteristics of the artwork. First, it points out the [...]

This text by Colombian writer Enrique Caballero Escovar is a critical review of Ricardo Gómez Campuzano’s pictorial work. In it, Caballero Escovar expresses his admiration for the landscapes by this artist from Bogotá, especially those depicting [...]

In an interview with Gloria Valencia Diago of the daily newspaper El Tiempo, Ricardo Gómez Campuzano talked about various matters related to his life as a painter. He spoke about his art training at the Escuela Nacional de Bellas Artes in Colombia [...]

In this text, Daniel Samper Ortega critically discusses certain events that took place on the Colombian art scene in 1929. First, he bemoans the death of artist Roberto Pizano, an important figure on the Colombian art scene, largely due to his work [...]

The synopsis and the annotations in English are coming soon.                                However, our bilingual readers can click on “Español” to access this information in Spanish [...]

In the opinion of the artist and art critic, Roberto Pizano, the trip undertaken by the artists, Ricardo Gómez Campuzano and Domingo Moreno Otero, to Spain was an opportunity to take advantage of the Spanish art culture. However, Pizano thinks they [...]

The article “En el Salón de Pintura” [At the Painting Salon] (1919)—published (anonymously) in the magazine El Gráfico—advocates a conversation to review the exhibition organized by the Escuela Nacional de Bellas Artes [National School of [...]

In this text, art critic Maximiliano (Max) Grillo discusses the importance and the history of the Escuela de Bellas Artes [Fine Arts School], an institution severely diminished due to indifference and neglect on the part of the government. Since both [...]

The Colombian art critic Roberto Suárez begins his essay by stating that modern civilization is in a “twilight” period. He criticizes the rapid artistic, social, and technical changes of the modern era, and describes Futurism, Cubism, and [...]

On the premise that “national art has yet to come into being,” Germán Arciniegas levels harsh criticism at the works by Colombian artists Francisco Antonio Cano, Ricardo Gómez Campuzano, and Domingo Moreno Otero included in an exhibition held [...]