Documents of Latin American and Latino Art

In this essay, Peruvian art critic and diplomat Raúl María Pereira provides an overview of Peruvian painting from the first half of the twentieth century. While the author praises the first generation of academic painters, he believes that their [...]

José Sabogal—in homage to the work of Mario Urteaga—recalls his first trip to Mexico (1924), when the revolution had created a favorable environment for artistic creation. At that same time, in Peru, “we likewise undertook the difficult and [...]

In this text, art critic Carlos Raygada asserts that, though Mario Urteaga has never before shown his painting in the capital, his work is not that of a beginner. Raygada describes Urteaga as a self-taught artist who, because he began painting in the [...]

The author, César Guillermo Corzo, notes that Mario Urteaga’s painting stands out for its skillful use of a brush, which he handles “with an ease that is almost childlike.” He states that his work is not influenced by literature or imitation, [...]

Reviewer Jorge C. Muelle confesses that he was wary before seeing the Mario Urteaga show at the Sociedad Filarmónica (Lima, 1937)—after all, “praise of spontaneous painters almost always leads them to ‘improve’ their resources, to copy [...]

In this text, art critic Carlos Raygada points out that Mario Urteaga’s painting became well known pursuant to his previous exhibition at the Sala Alcedo in Lima (1934) and to winning first prize at the V Salón de Verano de Viña del Mar (1937). [...]

This article by Teodoro Núñez Ureta was written on the occasion of the death of painter Mario Urteaga. He recalls the tribute to Urteaga organized by the Instituto de Arte Contemporáneo (IAC) in Lima in 1955, and the need to classify the work of [...]

This is the text of the entire talk delivered by Fernando de Szyszlo and part of the tribute organized by the IAC (Instituto de Arte Contemporáneo) in 1955 in honor of the painter Mario Urteaga. Szyszlo describes him as a highly idiosyncratic [...]

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 context of remarks on an exhibition of work by painter Mario Urteaga and the public acquisition of a large set of works by academic portraitist Carlos Baca-Flor, this text by Luis Miró Quesada Garland voices criticism of nationalism in art. [...]