Topic Descriptor: abstraction×
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  • Pedro Briceño
    Calzadilla, Juan, 1931
    Juan Calzadilla divides his critical essay on the work of Pedro Briceño into two parts. The first examines the field of Venezuelan abstract sculpture in the mid-twentieth century, including an overview of the most important characteristics of Brice [...]
    ICAA Record ID: 1161016

  • Juan Iribarren, el grano rauco y el silencio
    Pérez Oramas, Luis, 1960-
    In the view of critic Luis [Enrique] Pérez-Oramas, the authentic practice of painting is an exception in Venezuela today. The painting tradition has not carried on or developed beyond a certain strain of Constructivist or kinetic abstraction. [...]
    ICAA Record ID: 1160298

  • Un legado a las ideas de arte en el nuevo milenio : Jesús Soto; Alejandro Otero y Gertrud Goldschimidt (Gego), "Adelantados de su tiempo"
    Ramos, María Elena, 1947-
    In her essay, “Un legado a las ideas de arte en el nuevo milenio” [A Legacy for Ideas on Art in the New Millennium], María Elena Ramos sets forth the hypothesis that the Venezuelan artists, Jesús Rafael Soto, Alejandro Otero, and Gego may be [...]
    ICAA Record ID: 1159896

  • The vitality of non-orthogonal abstraction
    Christofori, Ralf
    In this essay, curator Ralf Christofori uses the notion of “non-orthogonal abstraction” to compare the work of different artists, among them Gego, a Venezuelan artist of German origin; Dutch artist Lara Schnitger; Brazilian artist Ernesto Neto; [...]
    ICAA Record ID: 1159090

  • Vuelta sobre los pasos
    Maldonado Bourgoin, Carlos
    The critic Carlos Maldonado Bourgoin discusses the painter and sculptor Omar Carreño’s latest work, in which he returns to his exploration of geometrical abstraction. Maldonado Bourgoin mentions the Venezuelan artist’s passion for research, [...]
    ICAA Record ID: 1157385

  • Si todos los barcos del mundo...
    Silva, Carlos
    The critic Carlos Silva interviews the visual artist Omar Carreño on the occasion of his presentation of new work in Venezuela. Silva seeks to explain the inspiration and circumstances that led Carreño to produce a series of Figurative works, [...]
    ICAA Record ID: 1157369

  • Omar Carreño figurativo : encuentro con los viejos amigos
    Comerlati, Mara, 1952-
    Journalist Mara Comerlati interviews Omar Carreño for his exhibition at the Museo Boggio in Caracas. The show brings together work from the artist’s figurative period, before his stay in Paris (at the end of the 1940s and beginning of the 1950s) [...]
    ICAA Record ID: 1157353

  • Omar Carreño; premio a la constancia, al genio y a la rectitud del proceder creador
    Schael, Alfredo
    Venezuelan writer and journalist Alfredo Schael interviews Omar Carreño in 1973, a year after he was awarded the Premio Nacional de Artes Plásticas [National Prize for the Visual Arts]. The author examines the career of the Venezuelan painter and [...]
    ICAA Record ID: 1157337

  • El expansionismo : Último "ismo" inventado en París por Omar Carreño pintor abstracto
    Muiño Loureda, Antonio
    The journalist Antonio Muiño (also known as “El Diablo Cojuelo”) interviewed Omar Carreño with the aim of acquainting the [Venezuelan] public with expansionism, an ongoing aesthetic movement that he was proposing from Paris. Outlining Carreño [...]
    ICAA Record ID: 1157320

  • Las imágenes poéticas de Manaure
    Erminy, Perán
    Critic Perán Erminy reflects on Mateo Manaure’s Pinturas sobremontaje. After describing the Venezuelan painter’s body of work as “unclassifiable,” Erminy discusses Manaure’s unique vision in relation to his creative effort at the time of [...]
    ICAA Record ID: 1156523

  • Mi obra de hoy : Mateo Manaure llega a los 50 años
    Alvarenga, Teresa
    Journalist Teresa Alvarenga interviews painter Mateo Manaure on the occasion of his fiftieth birthday. The artist recounts his life story, starting with his first job in 1941. He describes how he got involved in the world of printing and graphic art [...]
    ICAA Record ID: 1156427

  • La resistencia de las sombras : Alejandro Otero y Gego = The shadow's resistance : Alejandro Otero and Gego
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas finds that the work of Armando Reverón is the source of a “formalist tale,” defined as a theme of “traces and shadows.” It is a theme that Pérez Oramas pursues through the entire period when modern [...]
    ICAA Record ID: 1156379

  • Expresionismo y abstracción
    Quintana Castillo, Manuel, 1928-
    Drawn from the content of three chapters in Manuel Quintana Castillo’s book Cuadernos de pintura, this selection, the text “Expresionismo y abstracción” can be found in Chapter III. In it, the writer states that since the achievements of [...]
    ICAA Record ID: 1156218

  • Manuel Quintana Castillo : Visible / Legible
    Palenzuela, Juan Carlos, 1954-
    “Manuel Quintana Castillo. Visible/Legible” by Juan Carlos Palenzuela is the introduction to the exhibition catalogue for Manuel Quintana Castillo: Bañarse en el mismo río, which toured internationally. The text begins with an account of the [...]
    ICAA Record ID: 1156184

  • Mateo Manaure dice adiós al arte por el arte : el reencuentro con la figuración
    Yepes, Esteban
    Journalist Esteban Yepes interviews Mateo Manaure for his exhibition Mirar a América [Look to America], which signals his return to figurative [art]. The Venezuelan painter discusses the need to express himself in a new language, but clarifies that [...]
    ICAA Record ID: 1155547

  • Manaure : columnas en tierras movedizas
    Guevara, Roberto, 1932-1998
    In this text, Roberto Guevara provides a brief critical overview of Venezuelan artist Mateo Manaure’s artistic development. In Manaure’s case, Guevara explains, it is difficult to apply the idea that all aspects of an artist must be taken into [...]
    ICAA Record ID: 1155515

  • Organismo vivo : el mundo gráfico de Gego
    Sierra, Eliseo
    Eliseo Sierra analyzes the sources and characteristics of Gego’s graphic discourse (drawings, prints, watercolors, and weavings). Sierra finds that the artist’s work resists classification and is substantially different from the masterworks of [...]
    ICAA Record ID: 1155322

  • La pintura en Venezuela : Guevara Moreno y la realidad
    Guillent Pérez, J. R.
    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” [...]
    ICAA Record ID: 1154490

  • Los últimos veinte años en la pintura de Héctor Poleo
    Da Antonio, Francisco, 1930-
    In this essay on Venezuelan painter Héctor Poleo, historian and critic Francisco Da Antonio focuses on the last twenty years of the artist’s production and ventures a stylistic chronology and interpretation of his art. For instance, he argues that [...]
    ICAA Record ID: 1153932

  • Introducción
    Boulton, Alfredo, 1908-1995
    In his essay—published in the catalogue for the exhibition of works by the Venezuelan painter Héctor Poleo at the Museo de Arte Contemporáneo de Caracas—the historian and art critic Alfredo Boulton identifies three periods in the artist’s [...]
    ICAA Record ID: 1153883

  • Superemos la pugna de abstractos y figurativos : propone Oswaldo Vigas, el pintor que cultiva ambas tendencias
    Santana, Emilio
    Journalist Emilio Santana reports the opinions of Oswaldo Vigas on the topics of abstraction and figuration, as well as the conflict between both trends that had been at the center of the arts scene in Venezuela. Vigas stands up for overcoming the [...]
    ICAA Record ID: 1153298

  • Vigas en el ojo ajeno : plástica e identidad latinoamericana
    Montero Castro, Roberto
    Venezuelan critic Roberto Montero Castro here examines some of the opinions arising from the declarations made by Oswaldo Vigas. The author laments the “tono parroquial” [parochial tone] of the replies to the Venezuelan painter, because they do [...]
    ICAA Record ID: 1153266

  • Entrevista con Elsa Gramcko : realizada el 30 de agosto de 1976
    Calzadilla, Juan, 1931
    This article is written in the form of an interview; it consists of a series of questions that the critic Juan Calzadilla asked the Venezuelan visual artist Elsa Gramcko. The questions focus on Gramcko’s artistic development and especially on her [...]
    ICAA Record ID: 1152673

  • Comunicado del IAC sobre el homenaje al pintor Sérvulo
    Instituto de Arte Contemporáneo (Lima, Perú)
    This is the communiqué issued by the Instituto de Arte Contemporáneo (IAC) [Institute of Contemporary Art] in Lima on the subject of the disagreement between the writer Juan Ríos and the art critic Juan Acha about the opinions expressed by Acha in [...]
    ICAA Record ID: 1151132

  • Polémica sobre el homenaje a Sérvulo : Juan Ríos responde a Juan Acha
    Rios, Juan, 1914-1991
    Author Juan Ríos responds to the letter published by El Comercio wherein Juan Acha responded to the first letter Ríos had sent to protest Acha’s assessment in the prologue to the catalogue for the Exposición Homenaje for Sérvulo Gutiérrez, [...]
    ICAA Record ID: 1151082

  • Gran problema del arte peruano es la falta de críticos : "Xanno" : Alejandro Romualdo Valle agregó que los que escriben sobre arte son improvisados o huachafos
    Valle, Alejandro Romualdo, 1926-2008
    In this interview, Alejandro Romualdo Valle (“Xanno”) reacts to the ideological turn that the debate as to whether or not there are painters in Peru has taken. He states that the real problem facing Peruvian art “is the lack of critics.” [...]
    ICAA Record ID: 1150928

  • El debate sobre pintura: carta del Sr. Juan Ríos R.
    Rios, Juan, 1914-1991
    In his response to the article published by the Agrupación Espacio, writer and critic Juan Ríos asserts that there are two positions in art today: “art for art’s sake” and socially committed art. He considers abstraction the extreme of the [...]
    ICAA Record ID: 1150912

  • Cristina Gálvez opina que sí hay pintores en el Perú: citó a cuatro : "Hay que ser muy intelectual para ser abstracto" dijo y añadió luego "Szyszlo no es intelectual"
    Gálvez, Cristina
    In response to de Szyszlo’s controversial statement “there are no painters in Peru,” sculptor Cristina Gálvez mentions four whom she considers excellent: Juan Manuel Ugarte Eléspuru, Ricardo Grau, Sérvulo Gutiérrez, and Julia Codesido. [...]
    ICAA Record ID: 1150897

  • "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-
    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

  • "Qué arte abstracto ni que nada, el arte es esencialmente uno...": lo que debe hacer el pintor es "pintar", manifestó Sérvulo Gutiérrez
    Gutiérrez, Sérvulo
    In this text, Sérvulo Gutiérrez asserts that any classification that entails “dividing art” is conventional and falls into pigeonholing. It is misguided since it implies taking “a part for the whole.” Sérvulo Gutiérrez questions whether [...]
    ICAA Record ID: 1150851

  • De arte : exposición Kleiser
    Raygada, Carlos, 1898-1953
    In this critical review of the exhibition of works by Enrique Kleiser at the Galería de Lima in October 1950, Carlos Raygada praises the painter’s bold attempt to ignore his academic roots and experiment with the abstract ideas that “are in [...]
    ICAA Record ID: 1150835

  • Algunas notas sobre la pintura abstracta que se exhibe en la "Galería de Lima"
    This article, which is signed with the initials “F. F.,” reviews the exhibition of work by Enrique Kleiser, the Swiss-Peruvian artist, at the Galería de Lima. This was the first time that abstract—“better said, nonfigurative painting had [...]
    ICAA Record ID: 1150803

  • De arte
    Szyszlo, Fernando de
    In this open letter from Fernando de Szyszlo to El Comercio newspaper, the artist responds to the remarks published on its pages by critic Carlos Raygada (Lima, May 29, 1951) regarding de Szyszlo’s exhibition of abstract paintings at the Asociació [...]
    ICAA Record ID: 1150755

  • De arte : exposición Szyszlo
    Raygada, Carlos, 1898-1953
    In this text, critic Carlos Raygada comments on the show of abstract paintings by fellow Peruvian Fernando de Szyszlo held at the Sociedad de Arquitectos del Perú in Lima in May 1951. While Raygada praises the works’ “total commitment to the [...]
    ICAA Record ID: 1150738

  • Arte : las pinturas recientes de Fernando Szyszlo
    Pérez Barreto, Samuel (1921-2003)
    In this text, critic and librettist Samuel Pérez Barreto (S. P. B.) comments on the show of abstract paintings by fellow Peruvian Fernando de Szyszlo held at the Sociedad de Arquitectos del Perú in Lima. Pérez Barreto points out the deep [...]
    ICAA Record ID: 1150721

  • Sérvulo Gutiérrez opina llanamente sobre pintura y sobre pintores
    Moll, Eduardo, 1929-
    In this interview with Sérvulo Gutiérrez, the painter states that the European tradition is the most advanced in the world, showing his preference for both the School of Paris and Surrealism. In his opinion, the return to European models is the [...]
    ICAA Record ID: 1150441

  • En blanca y negra
    Miró Quesada Garland, Luis
    The writer Luis Miró Quesada Garland considers it wrong to brand any painting as either “Neo-Realist” or “Social Realist” based on a subjective interpretation of reality, with idealized figures and/or deformation as (a) technique(s). The [...]
    ICAA Record ID: 1150360

  • Artes Plásticas
    Salazar Bondy, Sebastián
    In his comments, Sebastián Salazar Bondy praises the early accomplishments of the painter Sigfrido Laske, especially given the local milieu, “where art training is not as comprehensive as desirable.” His evidence of the artist’s talent is [...]
    ICAA Record ID: 1150342

  • Un nuevo prejuicio (?)
    Goyburu, Emilio
    Emilio Goyburu opens this text by asserting that the “abstractionist prejudice” of which Abril de Vivero speaks on the pages of this same publication (Plástica) makes references to a form of snobbery inevitable in any movement that brings [...]
    ICAA Record ID: 1150326

  • Sobre un nuevo prejuicio
    Abril de Vivero, Francisco
    In this article, Francisco Abril de Vivero criticizes what he calls the “abstractionist prejudice,” claiming that conservative rejection of new tendencies is a constant throughout art history. At the same time, he acknowledges an “ [...]
    ICAA Record ID: 1150310

  • Cuatro edades de la pintura
    Goyburu, Emilio
    In this essay, Emilio Goyburu divides Western painting into periods on the basis of its “aesthetic facet.” He defines four “ages” that he envisions as a progression. In its “primitive” age—or genesis—painting acted as a “graphic [...]
    ICAA Record ID: 1150294

  • America
    Mosquera, Gerardo
    Five continents and one city: The Tercer Salón Internacional de Pintura [3rd International Painting Salon], held in Mexico City in 2000, was based on the selections made by five curators, each of whom chose three contemporary artists from their [...]
    ICAA Record ID: 1150214

  • Para comprender a Gego
    Carnevali, Gloria
    After a historical overview of sculpture from prehistory to the twentieth century, Gloria Carnevali reflects on abstract sculpture which, along with parallel advances in the areas of physics, biology, mathematics and geometry, underwent a radical [...]
    ICAA Record ID: 1150065

  • “Sobre la pintura de Urteaga” : disertó ayer el artista Fernando Szyszlo [sic], en el local del IAC
    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: 1146131

  • Algo más sobre lo dicho respecto a la exposición de "arte abstracto"
    Hernández, Julio Alfonso
    On November 3, 1952 Julio Alfonso Hernández, the director of El Tiempo, the Chiclayo newspaper, replies to Alejandro Lora Risco’s defense of his exhibition of non-figurative drawings. Hernández believes it is a cliché to refer to art as “the [...]
    ICAA Record ID: 1143668

  • El arte abstracto y la crítica : especial para La Industria
    Lora Risco, Alejandro
    In response to Julio Alfonso Hernández’s negative comments about Alejandro Lora Risco’s exhibition of abstract drawings (published in El Tiempo, Chiclayo, Peru, October 31, 1952), the artist wrote this essay in which he discusses the link [...]
    ICAA Record ID: 1143651

  • La exposición de arte abstracto de Alejandro Lora
    Hernández, Julio Alfonso
    In this review the journalist Julio Alfonso Hernández discusses the painter and critic Alejandro Lora Risco’s exhibition of abstract drawings in Chiclayo, Peru. In the author’s opinion these works “defy description;” far from being merely [...]
    ICAA Record ID: 1143634

  • I Salón de Arte Abstracto : Museo de Arte, paseo Colón, Lima, 15 de enero de 1958
    Patronato de las Artes (Perú)
    This text lists the works of the I Salón de Arte Abstracto held in Lima, Peru in January 1958. The brief prologue states that the exhibition’s mission is to demonstrate how painting in Peru has followed the same “logical” artistic development [...]
    ICAA Record ID: 1143441

  • Los años de la resaca
    Lama Mansur, Luis
     In this essay, Luis Lama Mansur discusses the period immediately after the military government led by General Juan Velasco Alvarado (1968–75), which he calls “the hangover years.” This period saw the loosening up of exports, the creation of [...]
    ICAA Record ID: 1143077

  • Construido desde lo sensible
    Carreño, Freddy
    This essay about the Venezuelan painter and printmaker Mercedes Pardo describes the kind of aesthetic experience her work tends to produce in the viewer. According to the curator and critic Freddy Carreño, Pardo’s work transmits a “skillfully [...]
    ICAA Record ID: 1142933