Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
EDICIN
De la edicin 2014:
Ricardo Kusunoki
Lima - MALI
Paseo Coln 125, Lima
TEXTOS
De los textos:
los autores
ARTE
MODERNO
De las obras:
los autores
BIBLIOGRAFA
Pablo Cruz
De las fotografas:
Los autores
COORDINACIN EDITORIAL
Pablo Cruz
Primera edicin
Jimena Gonzlez
Xxxx ejemplares
TRADUCCIN
ISBN XXXXXXXX
Rebecca Close
Max Hernndez
FOTOGRAFAS
xxxxxxxxx
Daniel Giannoni
Proyecto Editorial
Archivo MALI
N 11501001400230
CONCEPTO Y DISEO
Ralph Bauer
Vernica Majluf
RICARDO KUSUNOKI
LUIS EDUARDO WUFFARDEN (eds.)
PABLO CRUZ
AUGUSTO DEL VALLE
MAX HERNNDEZ CALVO
HORACIO RAMOS
Metropolitana de Lima.
RETOQUE
(logo de la municipalidad)
David Farfn
Reservados todos los derechos.
IMPRESIN
Grfica Biblos
Surquillo, Lima
Lima - MALI
COLECCIN
MUSEO DE ARTE DE LIMA
PRESIDENTE
DIRECCIN
CURADURA DE COLECCIONES
EXPOSICIONES
Natalia Majluf
Y DE ARTE PRECOLOMBINO
Y PUBLICACIONES
Cecilia Pardo
Jimena Gonzlez
Asistente
MUSEOGRAFA
Katherine Romn
Asistente
Nelson Munares
Rub Jara
DE ARTE COLONIAL
REGISTRO Y
Directora ESPA
Anglica Vega
VICEPRESIDENTES
GERENCIA GENERAL
Oswaldo Sandoval
Flavio Calda
Primer Vicepresidente
Mara Jess Hume
Asistente de gerencia
Segunda Vicepresidenta
Claudia Snchez
EDUCACIN
IMAGEN Y MARKETING
Vernica Trelles
DIRECTOR
Luis Enrique Ramrez
Comunicacin y prensa
Marilyn Lavado
CURADURA ASOCIADA
Diseo
Carla Rodriguez
TESORERO
ADMINISTRACIN
Y REPUBLICANO
CATALOGACIN
Nicols Kecskemethy
Pilar Quesada
Ricardo Kusunoki
Pilar Ros
SECRETARIO
Asistente
CURADURA DE ARTE
Coleccin permanente
Diego de la Torre
Marlene Hermoza
CONTEMPORNEO
Ricardo Saavedra
Eventos
Nataly Rodrguez
Asistente
Sharon Lerner
VOCALES
Tienda
Armando Andrade
Carlos Daz
Susana de la Puente
Petrus Fernandini
CONTABILIDAD
Orlando Cabello
Efran Goldenberg
Karina Rodrguez
Cursos y talleres
Exposiciones temporales
Asistente
y obras en transito
Valeria Quintana
Karina Aparcana
Mariella Cornejo
Desarrollo de negocios
Maria Luisa Muoz Cobo
Informes
Celeste Marn
CONSERVACIN
MEDIOS DIGITALES
Susy Sano
Y RESTAURACIN
Coordinadora de educacin
Asistente
de la coleccin permanente
AUDITORIO
Carlos Neuhaus
Diana Mendoza
Mara Villavicencio
Nerea Hernndez
Jorge Alva
Alberto Rebaza
RECURSOS HUMANOS
Asistente
Proyectos educativos
Tcnico
Jacqueline Saettone
Geraldine Nez
Rosario Rivadeneyra
Julio Beltrn
Asistente
Tcnicos en restauracin
Asistente
Simn Barraza
Gisela Lpez
Ral Otero
Manuel Velarde
Natividad Espino
LOGSTICA Y
Christian Gonzlez
BIBLIOTECA
MANTENIMIENTO
Sara Jimnez
Jess Varillas
Melba Arica
Alejandro Purizaga
Percy Velasco
Tcnicos
Pablo Ordoez
Alejandro Snchez
Asistente
Paola Tejada
It is with great pleasure that we present this book the first dedicated
art that MALI has been developing since its foundation in 1954. Over
the last sixty years, artists, patrons and friends of the museum have
from the series that we have been editing with Grupo Sura an editorial
porary art. The sequence is thus evolving starting from the present
sente, ir abarcando por etapas la vasta historia del arte peruano tal
moment and traversing through the vast history of Peruvian art, which
also transformed in the last few decades thanks to the work of diverse
senta recoge una nueva lectura del siglo, que incorpora ahora la historia
new reading of the century, one that incorporates the history of deco-
rative arts and photography two genres that have traditionally been
the period.
and republican art at MALI) and Luis Eduardo Wuffarden (an important
introduccin a las grandes corrientes que definieron el arte del siglo XX.
El tomo se abre con un ensayo amplio que recorre los debates crticos y
the critical debates and artistic production of the period. This narra-
una cronologa ilustrada, que presenta los hitos del desarrollo institucio-
Presidente
events in the political, social and cultural history of the century. These
low both a chronological and thematic order that allow for the transmis-
sion of details about the work of artists and their processes. The book
zando en el tema.
a wide public was made possible by Grupo Sura, who have fully sup-
to especially thank Mayu Hume, Jorge Ramos and Aldo Ferrini for their
everyone and achieve our goal of distributing art and culture in Peru.
that MALI has developed since its foundation, this is the second book
in the last one hundred and twenty years. It is thanks to the collabora-
pas, del equipo del MALI pero en especial de los artistas peruanos que
the team at MALI and especially the Peruvian artists that a publication
and culture should occupy a privileged space in everyones lives and our
future and thus create a more integrated society. Books are the tools
integrada. Los libros son precisamente una apuesta por difundir nuevos
pblico ms amplio.
En SURA seguimos comprometidos con la difusin de nuestro
Con este libro reafirmamos esa vocacin y buscamos generar material
and Fondos Sura) make us proud to continue our work with passion and
Seguros Sura y Fondos Sura, nos enorgullece y nos motiva a seguir tra-
commitment.
CEO
heritage, from the most distant past to contemporary times. With this
publication we reaffirm our mission and our search to generate first
SURA Per
Once again we launch this project with the conviction that art
12
62
86
SIMBOLISTAS Y MODERNISTAS
SYMBOLISTS AND MODERNISTS
98
120
INDIGENISMOS
INDIGENISMS
152
EL ESPRITU DECORATIVO
THE DECORATIVE SPIRIT
174
LA FOTOGRAFA REGIONAL
REGIONAL PHOTOGRAPHY
188
EL MODERNISMO FIGURATIVO
FIGURATIVE MODERNISM
214
230
INFORMALISMOS
INFORMALISMS
252
270
290
EL MODERNISMO FOTOGRFICO
PHOTOGRAPHIC MODERNISM
320
REGISTROS DE LA REALIDAD
RECORDS OF REALITY
348
CRONOLOGA
CHRONOLOGY
390
BIBLIOGRAFA
EN LAS FRONTERAS
DE LO MODERNO
AT THE BORDERS OF
THE MODERN
13
the 1960s. For the first time Peruvian art practices were in strict har-
nismo.
mony with the centers of the first world and were similarly motivated by
cant temporal stage of modernity, with the field of the history of art
estructuras acadmicas, esos cien aos habran dado lugar a una ince-
collections have not only acted as witnesses but also active agents
was the collection of Carlos Baca-Flor, acquired in 1955. This was praised
ancies of time stand the figure of Jos Sabogal, who famously claimed
that the Peruvian twentieth century actually began in 1919. This year
was without doubt a major turning point in the sense that two crucial
later, the institution paid homage to the leader of the artistic indigenist
movement Jos Sabogal, which occurred a few months after his death
de las bellas artes a la esfera pblica del pas y al mismo tiempo limita-
local modernism. After opening its doors officially in 1961, the museum
for introducing fine art practices to the public sphere in Peru while at
the same time they would notoriously limit the possibilities for formal
bolder artistic proposals of the moment. In the 1960s the museum pre-
sented the show Arte Nuevo [New Art] representing the experimen-
tal avant-gardes of the decade and in the 1980s the museum produced
Ese carcter fundador otorgado a Sabogal y a la ENBA responde, de hecho, a una percepcin terica fundada en la estructura
14
dentro y fuera del pas. Por ello la rotunda afirmacin de Sabogal mere-
notable attempts to approach the novel from within and outside the
long time almost exclusively around painting and in accordance with the
cera ser matizada hoy frente a los atisbos de modernidad que asoman
nios, sin embargo, los quiebres del paradigma han obligado a proyectar
turn, as the retrospective views towards the first half of the century. In
the last few decades however, the series of paradigm breaks have made
modernidad local a lo largo del siglo puede servir como punto de par-
moderno del Museo de Arte de Lima y las formas en que esa cambiante
document of the ideas and institutions that paved the way to a local
dents] the fine arts not only maintained this status but the two con-
specifically how these histories are reflected in the evolution of its col-
teada por ellos no dejara de evidenciar una marcada distancia con res-
lections.
opments, but would have to wait until after the Second World War
Peru entered the twentieth century the moment that national recon-
con los centros del primer mundo, e impulsadas por la voluntad de rup-
Francisco Garca Caldern, que traza una visin orgnica del pas y pro-
15
sis of Perus past and began to imagine the possibilities that the new
les artistas peruanos en los salones europeos. A ello habra que sumar
century might have to offer the nation. This spirit is revealed in a few
tricroma, que hicieron posible difundir con fidelidad nunca antes vista
mera mirada panormica al desarrollo del arte peruano desde los tiem-
tion into the modern world following the cultural leadership of France.
Just three years later, his younger brother the Limean illustrator Jos
Garca Caldern who died young in 1916 fighting in the battle of Verdun
to the present. The conclusions of his thesis allowed him to survey the
ideas that were deeply rooted amoung the intellectuals of the aristo-
ing of the physical and moral mediums are clearly based on a negative
baroque disorder of colonial art, the art previous to the conquest was
even less favorable to the tastes of the critic: the pre-Hispanic art forms
the artist who would only reach his potential through contact with the
cosmopolitan centers.
16
In this sense, Garca Caldern enunciated for the first time one
los dos primeros decenios del siglo, el trabajo de estos lderes de opi-
nin estuvo dirigido sobre todo a construir una escena artstica desde
cero. Por lo general eran artistas formados en Europa a fines del XIX
personal con el gran arte, sino que intentaron generar las bases de un
dent on it. However, the notes of Garca Caldern also initiated a rare
moment of importance for local criticism and for the art writers of the
el Viejo Mundo.
Limean scene. At least at the beginning of the first few decades of the
century, the work of these opinion leaders was geared towards inventing
a local artistic scene practically from scratch. In general they were art-
para el desarrollo del arte local durante el primer tercio del siglo. Con
ists educated in Europe towards the end of the nineteenth century that
great art but also attempted to generate the bases of the local art
system according to the image they had been exposed to in the Old
World.
gimiento de un mercado artstico, gracias a la expansin del coleccionismo privado e institucional. Pero sobre todo emprendi una larga
campaa por la apertura de una academia estatal de formacin arts-
17
development of local arts scene during the first half of the century. With
Bellas Artes.
the pages of leading magazines and newspapers that was without prec-
dos males que consideraba endmicos en el arte local: uno era la heren-
that the rest of the country was experiencing. For this reason he
phers and reporters who were at the same time taking images of con-
temporary Peru and the international world. The medium was ideal for
pean exhibition halls. These practices also helped to initiate new proce-
tions.
lems that he considered endemic to the local arts scene: the first was
similar furor y no vacilaba en calificar a sus representantes como bolcheviques del arte.
13
mixing with aesthetic aspects originating from the colonial period); the
Actualidades y Prisma were not only dedicated to judging the scarce art
huellas de una intensa labor crtica que dejaba planteados los ejes prin-
thus sought the erasure of this past in order to promote a painting cen-
siguiente decenio.
visibilizing the evolution of the work of Carlos Baca-Flor over the turn of
Per. Adems de ser uno de los primeros en indagar los vestigios arts-
tive painting and his legendary relation to Peru. He also played a part
his progressive attitude with regard to the burdens of the past found an
Daniel Hernndez, after the praise the artist received at the Universal
Exhibition of Paris.
Legua. Aunque haba ganado las elecciones, Legua opt por tomar el
Prisma, Clemente Palma. The conflict arose because of the way in which
trends in Europe, but rather the central axis of his teaching was based
raphy.5 Debates of this kind made evident the chronic precarity of local
around the need to fabricate a unique national art. His own painting, as
artistic mediums. For this reason, the following year the critic enthusi-
interest in valuing the vast cultural heritage of Peru. While he was one
quickly became the main inspiration and active force in the Limean art
scene and later overtook Larraaga as the significant critic after his
death in 1912. His first project was setting up a painting academy for
amateurs and enthusiasts that would allow him to present the work of
his students at the salon Castillo and organize the first vernissage
history of the art was reflected above all in his short essays Interiores
iniciada hacia 1911 con la casa Marquina de Chosica, o ante los nuevos
While Castillos link with the illustrated press was being consoli-
and colonial works conserved by local collectors, but also works repre-
dated, it was only after 1913 that he would make critical works in a sus-
gena. Por ello fue el crtico que mejor valor al joven Sabogal cuando
12
19
sus programas y contenidos fue, sin embargo, progresivo. As, por inicia-
nents of a national history that appealed to the tools of art and repre-
sentation to bring it fully into the present. This explains the enthusiasm
14
En diciembre de 1924, el Saln Ayacucho una estancia de arquitectura efmera, diseada por Piqueras en Palacio de Gobierno -, servi-
Lima in June 1919. It was then that Castillo caught a lucid glimpse of the
role that the new artist would play in the management of a national art.
Per moderno. Poda ser ledo al mismo tiempo como la mejor expre-
Arts (ENBA) in 1920, which had began its operations the previous year
sional painter, Sabogal integrated himself into the center of the study
ban un lugar destacado para las artes en la vida pblica. Sabogal, junto
center renowned for radically changing the artistic scene. This rupture
with the past included the emergence of contempt for Castillo amoung
the teaching staff, who often resented the polemic painter and his sub-
INDIGENISMO Y VANGUARDIA
20
bian art.11 Although his idea of the nation was fundamentally traditional-
following decade.
pulo Camilo Blas, hecho que seala el vuelco de su obra hacia los temas
indgenas. De ser un pintor nacional o nacionalista, comprometido
won the elections, Legua opted to take power in July 1919 by way of a
would favor the civilist candidate. This was how the Oncenio regime
21
began: a regime both authoritarian and populist that initiated a modernized capitalism following the influence of North American finance.
Piqueras Cotol
The twilight of the aristocratic republic would bring with it the promo-
tion of new middle classes and provinces, represented in the first pro-
local subject matters, Sabogal would move on to become the first indi-
por las nuevas ideas estticas, que intentaron divulgar por diversos
1920s.
lar por primera vez al arte con la poltica y la sociedad. Sus crnicas
of the official circles, whose postures would implicate them in the new
genist painter. The transition is crucial and defines a key stage as much
in his career as in the history of Peruvian art. These events also favored
cosmopolitan avant-gardes.
Both events required new codes of representing the nation and they
became the basis for a series of public art works that gave early visibil-
minar de forma inexorable las bases mismas del viejo orden artstico,
ity to the activities of the ENBA. The nationalist turn within its programs
these artists were from the provinces and they assumed positions that
and content was, however, progressive. It was in this way that Jos Sab-
pblico cuya mentalidad haba sido moldeada segn los cnones del
arte clsico. Por ello concluye que no sera sensato enfadarse dramti-
study trips that would offer them the opportunity to get close to the
ence in the opening of the third annual exhibition of the ENBA in 1923.14
puede, pues, recibir nicamente con una risa idiota los disparates del
The following year the new faade of the school, designed by Piqueras
sympathy for new aesthetic ideas, which they were intent on distribut-
center of studies.15
20
Ese mismo ao, el joven pintor Emilio Goyburu ilustraba en Lima la por-
activities tended to undermine the very bases of the old artistic order
poral continuity that led directly to a modern Peru. This can also be
ing the forms of modernity clearly and through their own logic. Mean-
seen as a major expression of the nationalist turn that the ENBA had
tional panorama. Such is the case with Csar Moro, poet and painter
The largely forgotten Juan Devscovi is also a case in point, whose exhi-
this official commission created a new relationship between art and the
state. The National School of Fine Arts, put at the service of the Legua
Paris in 1927) received the praise of Csar Vallejo and Xavier Abril.17 The
dent and his ministers at the annual exhibitions of the students, as well
same year, the young painter Emilio Goyburu illustrated the cover of the
for the arts in public life. Sabogal, together with the rest of the profes-
with a composition that had a distinct primitivist air, in line with the bold
sors at the school, acquired not only status as official painters but also
garde and the artistic did not create, however, the conditions for a shift
23
disciple Camilo Blas an event that would mark the shift from his previ-
24
position within the Peruvian arts scene. Andean subject matters domi-
23
nated, in effect, the official stage, taking over the new exhibition spaces
Jos Sabogal Diguez
Per, 1888 - 1956
Varayoc de Chinchero
1925
leo sobre tela
cm.
Pinacoteca Municipal Ignacio Merino
and receiving preferred attention from the press. The success of South
associated with the artistic career of Sabogal, it seems that it was pre-
Martn Chambi and Juan Manuel Figueroa Aznar, also maximized the
Amauta magazine in 1927. It was here where the critic also referred to
capture the interest of the new intellectual circles of the left, who per-
tors that also defined the beginning of the programmatic period of Sab-
that confirmed the position at last of the culture of the Andes. Jos
tently.
with politics and society for the first time. His early chronicles and writ-
links with local imaginaries and forms of thought that could be later
our time.20 In other articles, the writer had shown himself to be equally
not out right rejection on the part of the public, whose mentality had
been molded according to the classical canon of art. There was little
zine. However its graphic framework and art direction was clearly
sense in getting angry with the Dadaists, now that a man of thought
defined by Sabogal, who was directly responsible for the cover pages
3).
avant-garde artists. While they may have an air of the grotesque, these
are serious proposals.21
26
national myths above all in the field of painting and was therefor
mitment and need to become involved in the social reality of the coun-
the first to locate the nation astutely, on the margins of any particular
try would lead him to revise and refine his discourse. Already in 1926
social realism. In actual fact, Sabogal never intended to portray the life
one of his most important essays explained that not all new art was
filiacin comunista, a casi todos los plsticos peruanos del periodo. Con
authentically new content. With the aim of dispelling an error that dis-
works.26 His work was not an art of denunciation but rather one of vindi-
However, it was not until his return to Peru that his political com-
24
contemporary world there are two souls: that of the revolution and that
of decadence. Only the presence of the former bestows upon a poem or
painting the value of truly new art.22
27
lighted that his painting was far from all notions of ideological tran-
25
scendence.27 The same can be said of all the artists associated with
nous.29 The death of Maritegui in 1930 cut short the intellectual proj-
affiliation) all of the Peruvian artists of this period. With the distribution
was limited to the newspapers and its tone was increasingly aestheti-
1920s, the separation between art and politics would be made even
spokespersons for the praise of Sabogal and his group and this domin-
the middle of a general shift in the social and political concerns of the
Camino Brent were decisive for the introduction of both artists to the
ties took place was the institutional frame of the National School of Fine
Arts and were therefor part of the complex political processes that the
of works that addressed the three main regions of the country. Sabogal
country was beginning to experience. From within the art school, Sabo-
gal created a close circle of students early on. These figures would
those who called him the painter of the Indians and repairing his posi-
accompany him and remain loyal throughout his life despite the various
28
Sabogal logra-
position of this group across the institutional art spaces of the state, as
26
critics such as Carlos Raygada and Jorge C. Muelle became the main
gist educated by Julio C. Tello were the main agents responsible for
Mariano Ins Flores
Mate dedicado a Mara Wiesse
1925
leo sobre tela
7 x 20,5 x 20,3 cm.
Ofrecido en legado al Museo de
Arte de Lima
in 1937, after receiving the first prize at the V Saln de Verano de Via
se construa todo juicio sobre la produccin artstica del pas. Las con-
porary position as director at the National School of Fine Arts after the
del Mar. Raygada had commissioned and curated the exhibition and his
tan vigorosas a lo largo de los aos veinte, irn cediendo paso a una
painting was indeed affiliated with the legacy of indigenous art, it had
expression that the ancient ceramicists and weavers could never have
manifest not only in their own artwork but also in their inculcation of his
sense, the painting of the country would be inspired by this new spirit
that attempted to translate the soul of our own landscapes and inter-
de los treinta.
ing it, which proposed artistic indigenism as the only authentic frame
the opening of the annual exhibition at the ENBA (1934), when Jos de
primera fila del arte nacional. Asimismo, el crtico saludara con entu-
throughout the 1920s, gave way to the authority of the mestizo sum-
27
siasmo la muestra del Per integral compuesta por temas que abar-
caban las tres grandes regiones del pas, presentada por el propio
ousness and barbarism cannot be denied and the great art of Spain, one
was best demonstrated in works that were inspired by both Peru and
Castellon.35
bien la moderna pintura peruana no era ajena al legado del arte ind-
of the 1920s. It was perhaps Emilio Goyburu who was the first explicit
hoy[] no es ya indio sino mestizo, vale decir, un indio con una incrusta-
cin europea en el alma. En tal sentido, la pintura del pas estara ins-
modern because it lay outside the horizon of reality. The essential and
pirada en ese nuevo espritu que intenta traducir el alma del paisaje
only task is to make the work beautiful and the available elements are:
gena.34
Esta aprobacin sin fisuras se articulaba bien con un pensa-
28
principles that were openly in conflict with the localist conception of the
art of the time. Far from considering the influence of Europe as damag-
ing for Latin American art, Quzpez Asn brought the case of the great
nadie puede desconocer, y del gran arte espaol, uno de los ms poten-
rience in function of their own artistic interests. With the idea that inter-
directed against Sabogal and his group: the sculptors Lipchitz and De
Creeft are closer to an art form that we can call our own than almost all
Esculturas
29
lated them from a marginal position. This would situate him as the
39
and the surrealist group in Paris, Moro returned to Peru in 1935 and
limea, cierta prensa local acogi con atencin las violentas opiniones
plstica pura, o ligada a la libre expresin subjetiva del artista, solo tuvo
passed under the radar of local art criticism at the time can be consid-
misin: desviar, limar, borrar las inquietudes humanas que a travs del
In contrast to the limited impact of the Limean exhibition, a certain section of the local press welcomed Moros violent opposition to
Sabogal and the ENBA. These critics later chose to implicate themselves
part of the questioning of the Sabogal school, the journalist and poet
contrario a las concepciones localistas del arte (fig. 5). Lejos de conside-
the auspices of the state. Faithful to the surrealist lineage of work from
which he came, Moro wrote in a sarcastic tone: I dont see why the
distract from, refine and erase the human anxieties and concerns that
41
Posiblemente lo nico que todos ellos tenan en comn era haber sido
marginados de la ENBA.
around the dominant position of Sabogal and his group. The critique
chitz y De Creeft estn ms cerca del arte plstico que se puede llamar
30
37
42
the avant-garde. In 1937 the debate was further fueled with the opening
desde una posicin marginal que lo situaba en las antpodas del indige-
Ricardo Grau and Carlos Quzpez Asn who has only recently arrived
is possible that the only thing they all had in common was having been
indigenismo.
38
43
44
31
facilitado por la afinidad del pintor con el Partido Aprista, soporte prin-
the Salon initiated the Sociedad de Bellas Artes [Society of Fine Arts],
cipal del Frente. Por estas mismas razones Grau tendra que abandonar
Grau presented his first exhibition in Lima an event that would define
Peru, Grau became a gateway to a timid modernism far from any of the
radical tones of the avant-garde. On the contrary, his work used conser-
and indigenism.
43
44
because he did not awaken too many resistances amoung the sectors
position of professor at the ENBA in 1940, this was the first clear ges-
ture made on the part of the government of Manuel Prado against Sab-
Entre tanto, las ideas modernistas de corte cosmopolita empezaban a difundirse por obra de comentaristas que ponan en cuestin el
within the official arts discourse and reached a breaking point when
Sabogal was removed from his post as director of the ENBA in 1943. The
same year the Primer Salon de Pintura de Nuestro Tiempo [The First
peruano en lo que iba del siglo. Es el caso de Ral Mara Pereira diplo-
in the local arts scene. The organizers of the exhibition were three
45
Juan Ros escritor verstil, que sola alternar la crtica de arte con la
dents.
46
47
32
uted through the work of reviewers and critics actively questioning the
forth the first panoramic vision of the history of Peruvian art. This is the
case with Ral Mara Pereira a Peruvian diplomat and son of the Por-
tuguese painter of the same name who authored the text Ensayo
populares y mestizas. 52
48
Four years later Juan Ros a versatile writer who balanced arts criti-
tico que haba defendido los diez ltimos aos. Su nombramiento se vio
47
Srvulo Gutirrez
Los Andes
1943
leo sobre tela
105.8 x 19 cm.
Coleccin particular, Lima
33
tance of the artistic ideas that the artist and defended for over ten
Aprista Political party, a main supporter of the Frente. For these same
reasons Grau had to abandon the role in 1949 after the military coup
staff, which was further concretized by the fact that the majority of
artists were in line with his proposals for institutional renovation and
55
modernidad local. 56
LA AGRUPACIN ESPACIO
34
and the traditional pictorial genres that served precisely to negate the
direct their interest towards an attitude of art for arts sake and a kind
While the modernist ideal was gathering terrain in the field of painting,
lyzing the old construction traditions of the country during the 1940s
with the intention of reinforcing his criticized principles. At this time the
vian culture.50 The idea of mestizo buildings was the perfect expres-
sion of a fusion of cultures that could already be found in the early writ-
ing of Jos Uriel Garca, which, at the same time, were inspired by
Fernando de Szyszlo
Per, 1925
Intolerancia de Leonardo
1951
Libro-objeto en collage
36,3 x 26,8 cm.
Museo de Arte de Lima.
Donacin Fernando de Szyszlo y Lila
Yabar de Szyszlo
authors such as ngel Guido and Martn Noel.51 Later, Sabogals focused
su exposicin [en la Galera Lima] una bella tela costea que acababa de
from the beginning of the 1950s. This was all relatively in line with the
leradamente. En torno a Luis Mir Quesada Garland, lder nato del movi-
tion forms.52
creole subject matters as well as his persistent passion for the mes-
private residences that were being constructed in the new middle class
una intensa polmica local (fig. 8). En ese contexto, Prez Barreto fun-
dado por Francisco Moncloa y Jorge Remy. Fue justamente en esa sala
Seoane that the last exhibition of Sabogal was organized by the Society
of Architects.
36
53
54
introduced after the 1930s in the building programs of Lima, above all in
For many years this modern modality coexisted with the neocolonial
grupo.
Seoane who managed to fuse the two trends in a project that combined
nial. Quedaba claro que tanto la tcnica como el bagaje iconogrfico del
urban project was the rebuilding of the Plaza de Armas in Lima (1944-
1956), which meant the destruction of the old colonial gateways and
ernization would produce one of the most intense debates around the
la confrontacin se prolongar durante cerca de dos aos. Como reaccin al clima represivo instaurado por la dictadura de Odra, los comen-
These anxieties and concerns, which were the product of a social situa-
tion that emerged after the Second World War, were channeled by the
Agrupacin Espacio and the foundation of the space in 1947. The initial
Those who signed it called for a new man for whom they would pro-
Fernando de Szyszlo
Per, 1925
Sin ttulo
1951
leo sobre masonite
63 x 97 cm.
Coleccin particular, Lima
37
tion directed towards the entire Limean artistic scene.58 This quote
try. Through the functionalism derived from Mies van der Rohe, Le Cor-
citation.
porary point of view. In August 1948, after presenting his first exhibition
of the neocolonial style, the movement also looked to widen its radius of
standing on floor of the room of his exhibition [in the Galera Lima] and
influence toward the more diverse fields of culture and society. In fact,
studying a beautiful material from the coast that he had just acquired.
Ochenio de Odra.
64
65
38
painting.59 It was this attitude (whose closest antecedent was the soli-
tiva de Mario Urteaga organizada por el IAC en junio de 1955. Los indi-
Santiago Agurto, Juan Pardo de Zela gathered around Luis Mir Que-
deba ser visto como un plstico puro en cuya obra el tema jugaba un
held a universalist tone. One of the first demonstrations of this was the
they came together with writers such as Javier Sologuren and Blanca
Varela, the musician Enrique Pinilla and the young artists Fernando de
Buntinx, contena una crtica implcita a los pintores del crculo de Sabo-
tects and the Agrupacin Espacio in May 1951. This event triggered an
Szyszlo, Jorge Piqueras and Jos Bresciani. There was already a small
group of collectors and art buyers who were mainly recent migrants or
mona.
ing of the Galera Lima in 1947 the first private space of exhibition in
the city, founded by Francisco Moncloa and Jorge Remy. It was precisely
earthly strength and humanity expressed in color, form and pure com-
Sebastin Salazar Bondy and Samuel Prez Barreto, Espacio also pre-
arte peruano que tanto haba estudiado en su etapa final (fig. 9-10). Al
luded a shift in local criticism that would become further refined by the
end of the 1940s. At first, the group fought in a cohesive way on various
nique and iconography of the Sabogal group was not only in debt to the
Mexican muralists but above all to the regional painting of Spain of the
called upon to combine the formal interests of modernity with a commitment to social reality.62 A month later, an exhibition of contemporary
turn of the century. The distance separating these artists from the gen-
Italian painting not only unleashed a major debate but also divided the
eration of the independents was relatively small as the latter were still
anchored largely by the traditional genres and therefor out of step with
for its ornamental quality, Mir Quesada Garland reaffirmed his defense
the will for rupture. It was onto this stage that Fernando de Szyszlo
39
seems to have been suggesting that modern painting in actual fact con-
repressive climate of the Odra dictatorship, the leftist critics had aban-
tado por Acha al polemizar con Juan Ros sobre el legado esttico de
proposals.
dra retorna de Europa ese mismo ao, tras seguir estudios de historia
de la vigorosa irrupcin del informalismo, a partir de 1960, y de la simultnea gestacin del ancestralismo abstracto.
Contribuyeron a ese auge la intensa circulacin de muestras
in 1955, a little after his return from Europe, it was the first moment of
sal normada en ese momento por los cnones del expresionismo abs-
Exhibition Hall of Abstract Art at the Lima Art Museum. This marks a
tracto norteamericano.73
moment when the debate dissipated and the forty artists included in
the collection crystalized at last the universalist aspirations initiated
more than a decade earlier by the Agrupacin Espacio. Around this time
a new kind of criticism also appeared, linked with the most recent theo-
latest international trends and its links with the Museum of Modern Art
in 1957, when the joint project of Szyszlo and the young sculptor Joa-
qun Roca Rey won a public competition to build the gateway to the
Adolf Gottlieb. Pudo constatar adems que las telas de Franz Kline o
the time as a stimulating way of integrating the arts and their project
the official mural painting associated with the main public buildings
mente informalista.
presented their work at the IAC.68 Acha also covered the visits of the
68
69
40
64
74
guerra fra, se extenda por el mundo como una suerte de lingua franca
nized by the IAC in June 1955. The conflict occurred because paradoxi-
the decisive moment would come in 1961 when the Lima Art Museum
which included works by Tpies, Canogar, Feito and Cuixart.70 The local
a pure fine artist in whose work subject matter plays a secondary role.
response was rapid and the painters Gloria Gmez Snchez and Vladi-
Teodoro Nez Ureta, on the other hand, saw in him the most authentic
informalist character.
cold war, was extended throughout the world as a kind of lingua franca
66
75
76
Around 1960, a large part of the teaching staff at the ENBA were
del Per era presentada como un desarrollo lineal que conduca inexora-
new context was his book Desvn de la imaginera peruana [The Attic
Dvila translated New York action painting with enthusiasm into a well-
del gnero desde Gil de Castro en adelante, Acha afirmara que la culmi-
67
known exhibition in 1961 and the following year informalism was a style
shared by virtually all of the students entering the ENBA.71
This situation was reflected in a wide panoramic view of Peru-
41
grupo Seal (1965), que dara paso a Arte Nuevo (1966). Ambos colecti-
In both the selection of works and the introductory text written by the
Traba adverta sobre los peligros que entraaba la difusin de una est-
Matta and Joaqun Torres Garca, explored mythical and magical uni-
medium from Gil de Castro onwards, Acha affirmed that the culmination
have its final expression in 1958 and 1959: the moment in which a
apoyo eventual de Romero Brest que les abri las puertas de las biena-
rrollados.78
les forneas, pero sobre todo con el liderazgo terico de Acha, quien
those who are now working within the fame of contemporary art
claimed that this rhetoric had been promoted by the main institutional
issues.72 Acha used the same set of reasons in his conflict with Juan
sion of his death. Acha saw in the artist a precious possibility and at
hecho pblico por Szyszlo desde junio de 1963, a su regreso de los Esta-
from 1955 onwards did not make work of any importance it was pre-
At first Juan Acha shared the reservations held by Marta Traba, which
cisely because his work was situated in opposition to what the critic
article published in 1963 on his return from North America, the painter
79
73
ing underwent a sudden ancestral turn. This can be seen in the work of
tura, estimulado por los marchands que han visto un negocio seguro
the Museum of Modern Art New York.80 Szyszlo explained later that
that during his stay in Washington, the Peruvian artist realized that
the fashion of this new realism has come about because the buyers of
paintings are tiring, it is stimulated by the dealers who have seen a safe
business in the art of aggrandizement, comical one liners and the news-
also privy to the canvases of Franz Kline and Jackson Pollock, which
(with their heroic size and timeless air) managed to surpass the lyrical
given titles in Quechua such as Auki or Illa something that would con-
malism. The same year, his important reviews of the exhibitions of the
nent of the emblematic hard line defined his interest in the avant-
42
garde and prepared the ground for the decline of the hegemony of
evolucin artstica en lo que iba del siglo, cuya publicacin coincida con
Romero Brest, quien visit Lima en 1965 como jurado del III Saln de
of art. Acha supported many along with other critics of the region, such
tional success. The curator Thomas Medder described how the selection
juror in the III Salon de Artes Plasticas at the University of San Marcos)
the paused interpretation of the present and, above all, the humanist
and reflexive nature of the art of painting. Just three years later, after
the Museum of Modern Art Bogota, the argentine critic Marta Traba
bilities of the industrial world that we have long yearned for and
described the artistic values of the continent through the singular Peru-
sooner or later will fulfill and infiltrate daily life in Latin America.84
vian character, as can be deduced by the title of her essay: Una Amrica
76
85
as the Argentine Jorge Romero Brest who visited Lima in 1965 (as a
43
ation of the Seal group (1964), which would pave the way for Arte
servicio de las nuevas clases medias, coexisti por los aos setenta con
dcada.
87
EL RETORNO A LA FIGURACIN
support of Romero Brest, who opened the doors to the foreign bien-
cio, Acha recorded the important international artistic events and dis-
las salas del IAC bajo el elocuente epgrafe de l cierra los ojos, l
and Teresa Burga were just beginning to take shape, none of these art-
ists would find any major public success. Acha had already left in volun-
ments in accordance with official cultural policies and politics. The dis-
content of the moment and the questions it raised for the future were
paisaje.90
44
habra determinado el xito de este tipo de obra entre los sectores con-
Fig. 11
songs for new times Ugarte Elspuru predicted the kind of impact
that the political and social reformism of the last two years would have
for the artistic field. In the text he claimed that art of the bourgeoisie
exhibition halls and aesthetic speculation would find itself finally redun-
crtico sobre las perspectivas futuras del arte local.91 Esa orientacin
sin vanitas moderna.95 Desde principio de los setenta, sus obras irn
expression that in the case of Peru meant the rebirth of our popular
45
sante que los principales comentaristas de este pintor hayan sido histo-
alternative circuit and there was also the reemergence of popular art
de la Lima moderna.96
Podran explicarse las reacciones suscitadas por el trabajo de
clear what modes of art were now appreciated in Peru. The competition
event was initiated in 1962, when Fernando de Szyszlo was awarded the
prize, and since then the prizes had been given to artists at the fore-
88
tes por esos aos y a ofrecer un claro indicio del papel que iba asu-
abstract art in the country. Three months after announcing the winner
eloquent heading of El cierra los ojos, el ve [He who closes his eyes,
sees].
46
Fig. 14
surrealist movement. The exhibition was presented at the IAC under the
artists worked to reinforce the main tenets of the tradition. It was only
in 1970 when Humberto Aquino, Leoncio Villanueva and Jos Tola pre-
sented their first exhibitions. Tola had just been awarded a controversial
prize despite the fact that he was relatively unknown.89 Very soon a
tico. Desde otra perspectiva, el cruce del registro fotogrfico con una
nar la prctica del oficio. Como parte de ese proceso, los fotgrafos
landscapes.90
Fig. 14
1969 the Lima Art Museum hosted La nueva veta: la figura 1963/1968
collection of the work of various artists from the last five years that the
the human figure. There were diverse conferences organized around the
47
around the future perspectives of local art. This shift becomes even
surrealism, which had travelled to Peru from the Museum of Modern Art
seventies, his works described with crude attention the decline of the
New York. This exhibition was pivotal throughout the decade for its con-
cacin masiva.
old large houses in the historical center of Lima, the car cemeteries on
91
tribution to the knowledge of the historical origins of the art form and
its validation of the dominant style in Peruvian painting.
the periphery of the city or the precarious structures of the new neighborhoods and emergent zones at the outskirts of the capital. It is inter-
se haba iniciado desde los aos sesenta, con las bienales de arte popu-
esting that the first reviews of this painter were architects and histori-
Lima.96
to Peru from Europe would join forces with local painters such as
vuelta entre e la plstica culta urbana y las artes populares. Por un lado
like. All of them remained within the limits of the canvas as the tradi-
100
into the Limean gallery circuit and the first edition of the collective
autonomous aesthetic language of its own that, in turn, lent its tech-
artistas cultos y origin una larga polmica que llegara a dividir las
101
the end of the year, Tilsa presented a series entitled Mitos eight
North Americans Minor White and Aaron Siskind. Their activities quickly
piezas de arte popular, confirm esa poltica estatal que luego se ira
visual arts of the country and found theoretical sustenance in the spe-
was further consolidated with the poems of Arturo Corcuera and Csar
Billy Hare, Mariella Agois, Roberto Fantozzi and Javier Silva, among
Calvo, who contributed to the catalogue. The titles of the paintings were
these works.93
92
Contemporneamente, el impulso otorgado a las artesanas tradicionales andinas apuntaba en una direccin similar. Si bien ese rescate
48
99
102
ity introduced new forms of approaching the trade to the local scene.
por Mirko Lauer en su Introduccin a la pintura peruana del siglo XX, sin
The photographers that emerged from Secuencia would play a key part
had been disrupted and unstable since the military coup and the subse-
factor of the works success amoung the conservative sectors whom the
49
thus transformed and a new rhetoric of the power of the state pre-
pre-Incan art, popular artisanal art and the Republican pictorial tradi-
tion.103 The book focuses on this last subject and has as its leitmotif the
gal and his legacy. Lauer limited his analysis to the study of painting
99
desde Mxico por Juan Acha y Nstor Garca Canclini, Lauer y Castrilln
Museum, this time the initiative was blended with a neo-indigenist ideol-
Taller Huayco E.P.S. Fundado en 1979, meses antes de que el pas retor-
artistic market beginning in the sixties, military reformism and the sub-
tures and the popular arts. On one hand there was the assimilation of
this time by the controversy surrounding the prize awarded to the arti-
artisanal elements into the work of cult artists (reflected in the abstract
while on the other hand there was the incorporation of the work of art-
from Mexico by Juan Acha and Nstor Garca Canclini Lauer and Cas-
trilln offered theoretical analysis and backing of the brief but influen-
Mrida or the imagist Hilario Mendvil) into the Limean gallery circuit.100
altarpiece maker Joaqun Lpez Antay was awarded the Premio Nacio-
nal de Arte [National Prize of Art] in 1975. The choice of Antay was a
of the new popular urban cultures. This was a collective of young artists,
Leoncio Villanueva
Per, 1947
Sobre Leonardo. Suites. Serie Construcciones frgiles
1990
leo y collage sobre tela adherida a
madera contraplacada
104 x 110 cm.
Museo de Arte de Lima.
Donacin del autor
V-2.0-1666
in the sixties with the biennials of popular art organized by the Lima Art
105
surprise for many important cult artist candidates101 and created a con-
imbued it with a leftist ideology that had before been absent. Employing
Plsticos del Per (SUTAP) [Trade Union of Art Workers of Peru]. The
del arte peruano reciente.106 Este inters responde sin duda al carcter
with the new social conditions generated by mass migrations from the
following year, the selection of Peruvian works sent to the Sao Paulo
demic point of view it was Alfonso Castrilln who argued most consis-
on the artistic scene marked a clear before and after. The history of the
collective and its diverse body of work has earned an unusual amount
mittee who had awarded the prize) repeatedly rejected the use of the
rary Peruvian art.106 This interest is without doubt due to the prefiguring
hasta el presente (fig. 16). Desde ese punto de vista, las muestras retros-
102
inatory.
This peak in the success of the popular art forms would be recu-
rary art in the country.107 In the following years, the development of the
108
51
have maintained a decisive validity up until the present. From this point
ing.108
Critical activities in the Peruvian artistic scene have been decisive for
the development of the collection of the museum during the second half
of the last century. The donations from the Prado family in 1961 when
the museum opened its doors constituted the initial nucleus of the col-
lection with works that are representative of the first two decades
from the last of the academic tradition to the first works of the Sabo-
formed relatively late, the museum has had to confront the challenge of
propia historia del arte moderno peruano. As, por ejemplo, la exposi-
(the latter selected by the critic lida Romn) reaffirm the primacy of
today.110
111
The changes in the production and theory of art in the last few
Benito Rosas
52
first biennials in Trujillo and Lima, the beginning of the digital age and
use of photography in the last three decades and prepared the ground
53
history of the period, which until recently was barely represented in the
collections of MALI.
could be called art and design. An important step forward was made
Life]. The museum thus closed the century by recovering one of the
great figures of the indigenist tradition who had until then been virtu-
ally marginalized from official art history.112 Her work was inscribed in
periodo crucial en la historia artstica del pas. Para ello ha sido preciso
alist revivals that many important (as well as forgotten) Peruvian artists
engaged in. For that reason the recent arrival of the textile drawings
and decorative pieces of Izcue and Reynaldo Luza, as well the donation
narios sociales. Todo ello har que las colecciones del MALI permitan
of a crucial period in the art history of the country. For this reason it has
de la contemporaneidad.
54
NOTAS AL PIE
FOOTNOTES
1 ????
2 Significantly the first edition of this
book appeared in the French language.
See: Francisco Garca Caldern. Le Prou
Contemporain. Pars: 1907.
3 Jos Garca Caldern, Notas de arte
peruano, Variedades, Lima, IV, prospecto (29 February 1908): 17-18; IV, n 1 (7
March 1908): 38-39; n 3 (21 March
1908):113-115; n 4 (28 March 1908):145146.
4 Federico Larraaga, Carlos Baca-Flor,
in: Almanaque Sudamericano para 1901,
Barcelona (1900): 213-215; id., Muestras
de un artista nacional, Variedades, Lima,
VII, n. 153 (4 February 1911): 140-142; id.,
Daniel Hernndez (pintor peruano),
Prisma, prospecto, Lima, 8 September
1905, p. 18; id., Paul Gauguin, Prisma,
Ao I, n 3, Lima, 16 October 1905, p. 23.
5 Federico Larraaga, El pintor Luis
Astete y Concha, Prisma, Lima, 16
November 1905; Clemente Palma, Notas
de artes y letras, Prisma, Ao II, n 7,
Lima, 1 February 1906, pp. 29-30. On the
problematics between photography and
painting see: Fernando Villegas Torres,
Imgenes transgredidas. Retrato y
fotografa en Lima: 1842-1920, Illapa, n
2, Lima, December 2005, pp. 39-56.
6 Federico Larraaga, El artista Tefilo
Castillo, Actualidades, Ao IV, n 167,
Lima, 31 March 1906, pp.
7 Saln Castillo:la fiesta del vernissage,
Actualidades, n 196, Lima, 31 December
1906, pp. 1368-1370.
8 After his first collaborations with Actualidades and after a trip to Spain, he
regularly produced the cover images and
various illustrations for Ilustracin Peruana. See the monograph of the work of
Fernando Villegas Torres: El Per a travs
de la pintura y crtica de Tefilo Castillo
(1887-1922). Nacionalismo, modernizacin
y nostalgia en la Lima del 900 (Lima:
Asamblea Nacional de Rectores, 2006).
9 Mirko Lauer. Introduccin a la pintura
peruana del siglo XX. Lima: Mosca Azul
Editores, 1976, p. 59.
55
56
26 In fact, the lack of literal representation was one of the central questions
proposed by the critics of indigenism
after the 1930s. For a discussion on this
subject, see: Mirko Lauer. Andes imaginarios: discursos del indigenismo 2. Lima:
Centro de Estudios Rurales Andinos
Bartolom de las Casas, 1997, pp. 53 y ss.
31 Carlos Raygada, La exposicin Sabogal, El Comercio, Lima, 21 de noviembre de 1937, segunda seccin, p. V; De
arte. Con gran xito inaugurose ayer la
exposicin Sabogal, El Comercio, Lima,
19 de diciembre de 1937, edicin de la
maana, p. 7.
33 Aparte de Sabogal y el grupo indigenista participaban algunos artistas independientes, como Carlos Quzpez
Asn y Ricardo Flrez, aunque en su mayora lo hacan con obras de temas nacionales.
57
58
Garland.
68
70 Vase al respecto el ensayo de Edgardo Prez Luna, El proceso del informalismo en el Per, Oiga, Lima, X, n.
199 (11 de noviembre de 1966): 22-23.
71 Mientras el ganador de la medalla de
oro de ese ao, Venancio Shinki, se afiliaba a una modalidad europea con
acentos orientales, Rmulo Vela otro
pintor premiado junto con l causaba
impacto pblico con sus despliegues de
repentismo directamente derivados del
expresionismo abstracto norteamericano.
72 Juan Acha, Art in Latin America
Today. Per (Washington, D.C.: Pan Panamericana Union, 1961): 18.
73 Juan Acha, La pintura de Srvulo,
en Srvulo, catlogo de exposicin
(Lima: Instituto de Arte Contemporneo, 1961): [1-5].
74 Sobre este aspecto del primitivismo
americano, an poco estudiado, vase
el comentario crtico de Gustavo Buntinx [Sebastin Gris], Fernando de
Szyszlo: las imgenes y los das, El
Zorro de Abajo, Lima, n. 3 (noviembrediciembre de 1985): 60-62. El autor
remite al estudio de Kirk Varnedoe,
Contemporary Explorations, en William Rubin, ed., Primitivism in 20th
Century Art, vol. 2 (Nueva York:
Museum of Modern Art, 1984): 661-685.
75 Esas denominaciones eran a menudo
sugeridas por su amigo Jos Mara Arguedas, notable escritor y antroplogo,
cuyas ideas en torno a la conflictiva
dualidad tnica del Per moderno y al
sojuzgamiento secular de las races indgenas como producto de la conquista
europea fueron nutriendo, de uno u otro
modo, la maduracin de su pintura.
Vase: Luis Eduardo Wuffarden y Ricardo Kusunoki, eds., Szyszlo (Lima: Museo
de Arte de Lima, 2011): 43.
76 Marta Traba, Dos dcadas vulnerables en las artes plsticas latinoamericanas 1950-1970 (Mxico: Siglo XXI,
1973): 87. Szyszlo fue convocado junto
con Ricardo Martnez de Mxico, Ar-
59
60
tings, Leslie Lee, Joaqun Roca Rey, Venancio Shinki, Fernando de Szyszlo y
Leoncio Villanueva, entre otros.
93 Vase, por ejemplo: Javier Sologuren, Cuadros de una exposicin: las
mscaras, La Prensa, Lima, 21 de noviembre de 1976, suplemento La Imagen
Cultural, p. 18; Fernando Ampuero,
Tilsa: el paraso encontrado, Oiga,
Lima, ns. 67 y 68 (21 y 28 de mayo de
1979).
94 Alfonso Castrilln, Los parasos
ajenos de Tilsa, El Diario de Marka,
Lima, I, n. 9 (13 de julio de 1980): suplemento El Caballo Rojo, 10. Una versin
revisada y ampliada de este artculo se
public bajo el ttulo Los parasos de
Tilsa, en Jorge Villacorta y Luis Eduardo Wuffarden, eds., Tilsa (Lima: Fundacin Telefnica, Museo de Arte de Lima,
2000): 61-69.
95 Francisco Stastny, Bill Caro o la vanitas en el mundo moderno, en Bill
Caro 76, catlogo de exposicin (Lima:
Galera Camino Brent, 1976): [4-5].
96 Hctor Velarde, Caro y sus carcochas, en Bill Caro 76, p. [2]; Emilio Harth-terr, Carta analtica al pintor Bill
Caro (Lima: Editorial Universitaria,
1973).
97 Secuencia Textos conforma una
serie de folletos que aparecieron junto
cada exposicin en el periodo 19761979. Cada publicacin inclua escritos
de los propios expositores, as como
entrevistas y textos reflexivos escritos
por distintos fotgrafos. Acerca de la
historia de esta institucin, vase: Fernando La Rosa, Foto Galera Secuencia
(1976-1979): un recuento personal, en
Natalia Majluf y Jorge Villacorta, eds.,
Tres dcadas de fotografa en el Per
1960-1990. Documentos (Lima: Museo
de Arte de Lima, 1997): 90-91.
98 Vase: Augusto Ortiz de Zevallos,
La arquitectura ante o bajo el poder,
Debate, Lima, n. 6 (enero de 1981): x.
99 En este aspecto, el caso de Jess
Ruiz Durand resulta particularmente
representativo de este tipo de reconversiones y asimilaciones. Vase: Gustavo
Buntinx, Pintando el horror: sobre Memorias de la ira y otros momentos en la
obra de Jess Ruiz Durand, en Martha
61
62
OBRAS DESTACADAS
DE LA COLECCIN
HIGHLIGHTS OF THE
COLLECTION
63
Endae vendand andam, et veligen ditessin eaquo occuptur, nobis alibus, ommolen tiustiate voluptas dolut laut hicit
mos dolorro rehendi genducietur, cuptae
nobita cuscius ab ium quibus.
64
ACADEMICISMO DEL
NOVECIENTOS
ACADEMICIANS OF THE
TWENTIETH CENTURY
En las primeras dcadas del siglo XX seguan trabajando en Europa los
In the first few decades of the twentieth century the most notable Peruvian
with respect to the dynamics of the academic art of the previous century.
Largely due to the lack of education centers, official commissions and local
collections in Peru, the most talented artists saw themselves obliged to de-
1900 was the explosive moment for this second generation of academic
artists. The competition was perhaps the only occasion in which painters
fue quiz la nica ocasin en que pintores como Daniel Hernndez, Alberto
of these artists and associate them with the progressive ideals that formed
part of the collective imagination of Peru at the turn of the century. From
entonces, la obra de casi todos ellos se vea influida por el triunfo del impre-
this moment on, the work of nearly all of the participating artists would be
por los efectos lumnicos y una diestra soltura de pincel. Solo algunos re-
ple set by the few who returned to their countries served to encourage the
emergence of new practices as well as to distribute the form and practice of
open-air landscape painting.
The career of Carlos Baca-Flor had, since the beginning, developed within
the frames of the academic institution where he was awarded many awards
and distinctions. The artist made a series of early works in Santiago, Chile,
and after a brief stay in Lima he left for Rome in 1890 with a scholarship
from the Peruvian government. Three years later he moved to Paris to
study at the Acadmie Julian where he perfected his trade under the professor and artist Jean-Paul Laurens. Towards the end of the century, just
as he was finishing his rigorous academic studies, he produced a series of
nighttime scenes of urban street life made in the company of the Catalan
painter Hermenegildo Anglada Camarasa. These works were originally conceived as practice exercises that the artist would merely save for himself.
In these works Baca-Flor ascribes to the traditional themes of modern life
introduced by the impressionist movement and he also approaches certain
modernist trends aligned to the Nab group. Made with a great swiftness,
their blurred and rich execution suggests the effects of artificial light on the
bohemian environment of the French capital.
66
67
CARLOS BACA-FLOR
(ISLAY, 1869 - PARS, 1941)
PARIS NOCTURNO
La cantante
ca. 1897-1901
leo sobre madera
18,5 x 13,7 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 1955
La cantante
ca. 1897-1901
leo sobre madera
27 x 21.3 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 1955
Caf
ca. 1897-1901
leo sobre madera
18,6 x 24 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 1955
Mujer en el caf
ca. 1897-1901
leo sobre madera
14 x 18 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez y
Teresa Blondet de Cisneros
Escena nocturna
ca. 1897-1901
leo sobre madera
21,5 x 27 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez y
Teresa Blondet de Cisneros
68
69
71
70
1913
After studying under the Italian professor Leonardo Barbieri in Lima, painter
Daniel Hernndez moved to Europe in 1874 with the intention of continuing
a formal academic artistic education. The same year he arrived in Paris, he
later left for Rome on the advice of Ignacio Merino. In the Italian capital he
became linked to the colony of Spanish artists active in the city. His participation in the Great Paris Exhibition of 1900, where he was awarded the silver
medal for his Perezosa, was a catalyst for an international artistic career.
From that moment on, the subject matter occupied a central place within
the genre painting cultivated by the artist. As this version makes evident,
these are idealized representations of women in repose and their sensual
and relaxed demeanor is complemented with the careful depiction of the
environment in which the figures move. Its agile execution and attention to
the distribution of light evokes certain formal tendencies of impressionism.
Hernndez would eventually become one of the most renowned exponents
of the renewed academicism of the Belle poque, something that would be
decisive when the government of Jos Pardo was to invite him to Lima in
1918 to direct the recently inaugurated National School of Fine Arts.
72
73
DANIEL HERNNDEZ
PEREZOSA
1906
74
La tapada
ca. 1905-1915
leo sobre tela adherida a cartn
35 x 28 cm.
Museo de Arte de Lima.
Donacin Memoria Prado
V-2.0-0192
75
TEFILO CASTILLO
(CARHUAZ, 1857 - TUCUMN, 1922)
76
77
Conocido sobre todo por su obra potica, Jos Mara Eguren es tambin uno
de los creadores visuales ms interesantes de inicios del siglo XX en el Per.
Artista esencialmente autodidacta, sus estudios formales se redujeron a las
clases privadas de dibujo y pintura que recibiera, cuando nio, de la italiana
Valentina Pagani de Casorati. Tiempo despus, Eguren inici una serie de
vistas de la campia limea tomadas del natural, en las que intentaba captar
la particular luminosidad del brumoso cielo limeo. Su ejecucin minuciosa
se enmarca dentro del paisajismo incipiente desarrollado en Lima a fines del
siglo anterior por pintores como Carlos Jimnez. Sin embargo, estas obras
tempranas alcanzaron el reconocimiento de Tefilo Castillo, quien impulsaba
la renovacin de la pintura local. Castillo les dedic un extenso comentario
en 1919, en el que elogiaba la aguda capacidad de observacin del poeta por
medio de la expresin latina Mxima miranda in minimis la mxima admiracin en lo ms pequeo-. La pintura de Eguren asumira posteriormente
una tnica simbolista, en paralelo con su inters por las posibilidades experimentales de la fotografa.
Known above all for his poetry work, Jos Mara Eguren is also one of the
most interesting visual creators of the beginning of the twentieth century
in Peru. Essentially a self-taught artist, his formal studies can be reduced to
a few private drawing and painting classes that he received as a child from
the Italian painter Valentina Pagani de Casorati. Soon after Eguren began
a series of landscapes of the Limean countryside in which he attempted to
capture the particular luminosity of the gloomy and tumultuous Limean sky.
His attention to detail is characteristic of the early landscape tradition in
Lima towards the end of the nineteenth century, which had originally been
developed by painters such as Carlos Jimnez. These early works would
later achieve the recognition of Tefilo Castillo who promoted the reinvigoration of the local painting scene. In an extensive commentary dedicated to
them in 1919, Castillo praised their acute skills in observation. In the article
he employed the Latin expression Mxima miranda in minimis nature
is the greatest in the small things. Egurens painting would later take on a
symbolist style aligned to his interest in the experimental possibilities of
photography.
78
79
(LIMA, 1874-1942)
PAISAJE DE LA
CAMPIA LIMEA
ca. 1900-1915
A member of an influential Limean family, Enrique Domingo Barreda studied drawing in the Concha Academy before travelling around Europe and
training as a painter, although he never abandoned his condition of amateur
artist. In Europe he acquired a position that allowed him to evoke the effects
of open-air painting and on his return to Lima he won the Concha painting
competition with a landscape painting of an Italian countryside taken from a
print. While the artist continued to develop his interest within the new academicism revived by the achievements of impressionism, Barreda also pursued a permanent study of the natural. One of his best early works is Patio
interior [Interior Patio], dedicated to the writer and poet Enrique Carillos
(Cabotn). It was through their links to the civil elites he was the cousin of
president Jos Pardo that Barreda played an important role in the establishment of the National School of Fine Arts. Towards the end of the decade
in 1910 he moved to Europe and there he sustained a critical attitude towards indigenism, manifested in his writings published in the 1930s.
80
81
ENRIQUE DOMINGO
BARREDA
PATIO INTERIOR
1910
In 1917, Tefilo Castillo initiated a research trip to Buenos Aires that travelled
through the Southern route of Peru: a journey that would lead him through
Areuipa, Cuzco and Puno. As well as producing a collection of articles published periodically in the magazine Variedades, Castillo executed a series of
sketches of interiors and landscapes, many of which would become a departure point for composing drawings of historical evocation. His interest in the
royal and colonial past would also lead him to recover the aesthetic worth of
the architecture and the local baroque art, whose study and conservation he
promoted consistently with his writings. Painted in Cuzco, this canvas shows
the patio of a colonial house in Santa Teresa street. In this work he revisits
the nostalgic atmosphere of his Limean compositions of the same genre,
which he initiated on his return to Peru in 1906. Influenced by the luminism
of Mariano Fortuny, the painter portrays the diverse illuminated surfaces
through the employment of fluid brushstrokes and thick oils.
83
82
TEFILO CASTILLO
CASA EN LA CALLE DE
SANTA TERESA, CUSCO
1917
SIMBOLISTAS Y MODERNISTAS
86
A inicios del siglo XX, ante la falta de espacios institucionales para la pin-
At the beginning of the twentieth century when institutional spaces for paint-
ing and sculpture were still lacking, the emergence and increased circulation
cas ms dinmicas del medio. Aficionados de diversas partes del pas parti-
mercial illustration into one of the most dynamic and exciting artistic activi-
ties to take place in the scene. This was a time when amateurs and enthusi-
dades, tratando de replicar la fama obtenida por los principales artistas del
asts heralding from different parts of the country began to participate in the
their own attempt to get hold of some of the fame that was being attained by
ron algunos dibujantes peruanos. Como parte del mundo de las prensas
participants in the Limean publishing and press world, many of these illustra-
tors were also linked closely with the cutting-edge intellectual bohemia whose
ras. Esta interaccin constante les permiti compartir un mismo afn por la
decadent aestheticism was inspired by the spirit of the Belle Epoque. Even
reflections and his own production of drawings and caricatures. This constant
interaction allowed them to share the same passion for formal experimenta-
tion. Thus, a kind of illustration avant-garde emerged and was lead primar-
momento.
ily. This moment occurred in the 1920s parallel to the upsurge of indigenism
within Peruvian national arts. However, these illustrators never quite managed to consolidate a movement in the traditional sense of the term and their
work inspired only a marginal interest for a local criticism.
From 1917 onwards, the young journalist, author and illustrator Abraham
Valdelomar (Ica, 1888 Ayacucho, 1919), became one of the most polemic
figures of the Limean cultural scene, as well as being one of the first intellectuals to maintain a professional career as a writer. It was then that he had
his portrait painted by his friend Ral Mara Pereira a Portuguese painter
and architect educated at the Academy of Fine Arts Porto who was the then
director of the Quito School of Fine Arts. Just before making this work,
Pereira had settled in Lima where he managed to uphold a career as a portrait artist. His prolific and sometimes mediocre output earned him the
attacks of Tefilo Castillo, something that would have tightened his affinity
with Valdelomar, who had also been the object of attacks from the same
critic the year before. In a decadent gesture, the subject of the portrait
poses in his office at the newspaper La Prensa, leaning on Omega a skull
extracted from the ruins of Pachacamc, which he called his friend. The
drawings lining the walls bring to light his work as a caricaturist and reveal
his profound dedication to the arts. Pereira here abandons the characteristic
conventionalism of his portraits in order to construct an emblematic image
of Valdelomar representing him as both a dandy and a man of the press.
88
89
ABRAHAM VALDELOMAR
1917
En los inicios de su carrera, el futuro pintor indigenista Camilo Blas desarroll estrechas relaciones con los crculos intelectuales del norte del Per. Al
dejar Cajamarca -su ciudad natal- para estudiar en la Universidad de Trujillo,
ingres a la denominada Bohemia de Trujillo, integrada por figuras como
Antenor Orrego, Alcides Spelucn, Csar Vallejo y Macedonio de la Torre.
Aunque el grupo tena un carcter esencialmente literario, su dinamismo
estimul a Blas para asumir su vocacin artstica, pese a la carencia de centros de formacin en la ciudad. Los diversos tpicos tratados por sus compaeros de grupo le inspiraran una serie de dibujos tempranos. Algunos
fueron publicados como ilustraciones en la revista Per, dirigida precisamente por Orrego, mientras otros se mantuvieron inditos. Es el caso de
estas dos obras, una de las cuales representa una procesin popular en la
sierra del norte mientras que la segunda aborda una escena fantstica
expresamente inspirada en Los heraldos negros, el primer poemario de
Csar Vallejo. Por encima de sus diferencias temticas, ambos dibujos evidencian un mismo tratamiento claramente influido por la esttica simbolista.
CAMILO BLAS
(CAJAMARCA, 1903 - LIMA, 1985)
At the beginning of his career, the future indigenist painter Camilo Blas
developed strong relations with the intellectual circles of northern Peru. On
leaving his birthplace Cajamarca to study at the University of Trujillo, he
began to form part of the Bohemia de Trujillo a group that included figures
such as Antenor Orrego, Alcides Spelucn, Csar Vallejo and Macedonio de la
Torre. Although the group had an essentially literary character, its dynamism
stimulated Blas to take on an artistic career due to the lack of education
centers in the city. The diverse subjects approached by the colleagues in the
group would inspire an early series of drawings. Some of these were published as illustrations in the magazine Per, directed by Orrego, while others
remained unpublished. This is the case with two works in particular: the first
represents a popular procession in the Sierra in the north while the other
approaches a fantastical scene openly inspired by Los Heraldos Negros (a
first collection of poems by Csar Vallejo). Aside from their thematic differences, both drawings make evident the same clearly expressed interest in
aesthetic symbolism.
Procesim
Carbn sobre papel
16,7 x 13,3 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
Cocana es una de las ilustraciones que Vctor Morey realiz para Bandada,
poemario publicado en 1925 por el futuro diplomtico peruano Gonzalo Ulloa
(1900-?). Se inspira en el poema del mismo ttulo y pretende sugerir el
estado alucinatorio supuestamente provocado por la ingestin de la droga.
Este era un tpico del imaginario decadentista abordado por la literatura y la
grfica locales, aunque en relacin con las ensoaciones erticas producidas
por el opio. Dedicado tambin al diseo publicitario, Morey fue uno de los
dibujantes ms talentosos de su generacin, y llegara a colaborar en las
ms importantes revistas ilustradas del pas. En 1921 present en Lima una
exposicin conjunta con Emilio Goyburu y Carlos Quzpez Asn, y exhibi
individualmente en diversas ciudades peruanas a lo largo de esa dcada.
Pese a su estilo cosmopolita, busc vincular su trabajo con el nacionalismo
imperante en la intelectualidad y las instancias oficiales peruanas. En esta
lnea realiz su principal muestra, presentada con cierto xito en Buenos
Aires en 1924. Morey sera adems uno de los pioneros en la representacin
de motivos selvticos, casi ausentes de la plstica nacional hasta ese
momento.
93
92
(IQUITOS, 1900-1965)
COCANA
ILUSTRACIN PARA EL POEMARIO
BANDADA DE GONZALO ULLOA
ca. 1924
The paintings of Carlos Quzpez Asn are characterized by a rigorous formalism that can be seen as linked to traditional European modernism. Although
his initial work as an illustrator betrays a clear interest in formal experimentation, his trip to Madrid in 1921 would ultimately define this attitude. A student of the Spanish artist Cecilio Pl at the Royal Academy of Fine Arts of
San Fernando, it was Salvador Dal who would inspire his interest in cubism.
Quzpez gradually developed the teachings of this movement. Five years
after arriving in Madrid, the artist captured this street view (one of the many
that he would take of the Madrid neighborhood of Lavapies), where he lived
at this time. Here, the post-cubist stamp, while not as blatant as his later
work, is reflected in the synthetic and lineal way in which the architectural
forms are represented. Upon returning to Lima in 1927 with a collection of
similar works, Quzpez would ultimately embody the soundest proposal for a
cosmopolitan form in the field of painting. At this time however, his work
met with little response due to the upsurge in interest in the indigenist artistic styles promoted by the National School of Fine Arts. Thus the artist
moved to Los Angeles (U.S.A) the following year so that he might dedicate
himself to mural painting.
94
95
(LIMA, 1900-1983)
1926
Este pequeo dibujo da cuenta del temprano inters en la vanguardia europea del poeta y artista Csar Moro, seudnimo de Alfredo Quzpez Asn. Fue
realizado en 1926, un ao despus de que el artista se estableciese en Pars
con la intencin de forjarse una carrera como pintor e ilustrador de revistas.
Se trata de una composicin plenamente cubista, influenciada por el trabajo
de Juan Gris. Constituye un ejercicio de plstica pura, en el que los contornos curvos de un objeto -al parecer un instrumento musical- se fragmentan
en distintas direcciones y planos, al igual que la superficie que les sirve de
soporte. Con este tipo de obras, el artista dejaba atrs la estilizacin decorativa que caracterizara su labor en Lima, en parte vigente dentro de los trabajos de tema peruano que presentara poco antes en el Cabinet Maldoror de
Bruselas. Al igual que muchos latinoamericanos que intentaban adscribirse a
las tendencias ms avanzadas de la escena parisina, Moro segua viendo al
cubismo como sinnimo de modernidad artstica. Sin embargo, el trabajo del
peruano asumira un rumbo distinto a partir de su ingreso al movimiento
surrealista en 1928.
This small drawing testifies to the poet and artist Cesar Moros (a pseudonym for Alfredo Qupez Asn) early interest in the European avant-garde. It
was produced in 1926 a year after the artist settled in Paris with the intention of establishing a career as a painter and magazine illustrator. It is a
purely cubist composition influenced by the work of Juan Gris. Here the
artist constructs an artistic exercise through which the curved contours of
an object, which appears to be musical instrument, are fragmented in different directions and across various visual planes, just like the surface that
supports them. With these kinds of works, the artist leaves behind the decorative style that once characterized much of his work in Lima, seen largely in
the artworks dealing with Peruvian themes that he had presented in the
Cabinet Maldoror in Brussels. Just as many Latin American artists ascribed
to the most cutting-edge trends of the Parisian scene, Moro continued to see
the cubist perspective as a synonym for artistic modernity. However, the
work of the Peruvian artist would take a different turn upon his contact with
the surrealist movement in 1928.
96
97
CSAR MORO
(LIMA, 1903-1956)
NATURALEZA MUERTA
1926
98
artstico en la sierra sur del Per a inicios del siglo XX. Ante la ausencia de
artistic production in the Sierra Sur region of Peru. In the absence an aca-
with international pictorialism. The city of Arequipa became the center for
this trend, which called for modes of pictorial production in order to pro-
mote the artistic status of photography. At the same time, the main studios
exhibition and a meeting point for intellectuals. The first step in this updat-
primer paso para la renovacin del medio lo dio la apertura, en 1903, del
Vargas (Arequipa, ca. 1874 Lima, 1959) in Arequipa. It was in his studio
that various professionals were trained, including the Vargas brothers dis-
tinguished for the modernist aura of their images and Martn Chambi, an
artist involved with the artistic indigenist movement in Cuzco. It was during
this period that the activities of the amateur enthusiasts also began to
que tuvieron una presencia pblica importante, entre los que destaca Juan
develop and gain public recognition. Within this group Juan Manuel
100
MARTN CHAMBI
(COAZA, 1891 - CUZCO, 1973)
Martn Chambi is, without a doubt, the most renowned figure of South
Andean photography from the first half of the twentieth century. A member
of a family of small-scale farmers in the highlands of Puno, his interest in the
trade emerged in his adolescence, after having come into contact with two
English photographers who worked in the mines in Inambari. In 1908 he
moved to Arequipa and began working in the studio of Max T. Vargas, who
would be his most influential teacher. After 1917 he settled in Sicuani and
three years later he left for Cuzco, where he would develop a large part of
his career. Throughout this period he also dedicated himself to studio portraiture, publishing postcards, photographing social events and working as
correspondent to various publications based in Lima. His photographs
served to distribute images of the monuments and landscapes of Cuzco, as
well as indigenous scenes. It was through his involvement with the latter
that he became linked with the indigenist intellectuals from Cuzco, whose
books and articles he regularly illustrated. During his various trips to Machu
Picchu in the 1920s, he produced a series of emblematic views of the city of
Inca. In 1927 he exhibited his work for the first time in Lima a moment that
coincided with the emergence of Sabogals indigenist painting movement.
While this situation no doubt maximized the wide reception of his work, it
was not until after his death that the work of Chambi would become widely
known. In the 1970s his photography began to earn universal international
recognition.
103
105
Qoyllur Riti
ca. 1924-1930
Copia moderna en gelatina de plata
sobre papel
28 x 35 cm.
Museo de Arte de Lima.
Donacin Archivo Chambi y Fundacin
Telefnica
2001.8.6
107
108
109
MANUEL MANCILLA
INDGENA
ca. 1920-1930
Aunque formados en el estudio de Max T. Vargas, los hermanos Carlos (Arequipa, 1885-1979) y Miguel Vargas Zaconet (Arequipa, 1886-1976) no tuvieron relacin de parentesco con su maestro. En 1912 adquirieron el negocio
de Alfredo Medina para independizarse, y abrieron la famosa casa fotogrfica Vargas Hermanos, que pronto se convertira en el centro de la discusin
esttica de Arequipa. Un ao despus organizan su primera exposicin fotogrfica, y a lo largo de las siguientes dcadas exhibiran all los pintores Enrique Mlaga Grenet, Teodoro Nez Ureta. el fotgrafo Martn Chambi entre
muchos otros. Fue tambin lugar de visita obligada para intelectuales y
artistas a su paso por aquella ciudad, siendo un hito la llegada de Abraham
Valdelomar en 1919. Esta fama hizo que sus trabajos fueran seleccionados
junto con los de Chambi para representar al Per en la Exposicin Iberoamericana de Sevilla de 1929. Los hermanos Vargas destacaron tempranamente por sus Nocturnos, exhibidos por primera vez en 1915. Se trata de
vistas y escenas de las calles de Arequipa tenuemente iluminadas por la luz
elctrica, que eran coloreadas por medio de procedimientos como el virado
al hierro o al nquel. La tnica general de sus imgenes responde a un ideal
de elegancia cosmopolita y burgus, que llevaron a un grado de refinamiento pocas veces alcanzado en el pas.
110
Although educated at the Max T. Vargas studio, the brothers Carlos (Arequipa, 1885-1979) and Miguel Vargas Zaconet (Arequipa, 1886-1976) never
had a true familial relation with their professional instructor. In 1912 they
acquired a business from Alfredo Medina with the view to becoming more
independent from their family. At the same time they also opened the
famous photography house Vargas Hermanos, which soon became the
center of artistic debate in Arequipa. A year later they organized their first
photography exhibition and throughout the following decades they would
exhibit the painters Enrique Mlaga Grenet and Teodoro Nez Ureta as well
as the photographer Martn Chambi, among others. Their exhibition space
was a must-visit place for intellectuals and artists passing through the city. A
particularly significant example was the arrival of Abraham Valdelomar in
1919. This new fame caused their works to be selected along with those of
Chambi to represent Peru at the Iberoamerican Exhibition in Seville in
1929. The Vargas brothers stood out early for their Nocturnos works, exhibited for the first time in 1915. These works portrayed nighttime street scenes
of a dimly-lit Arequipa illuminated by electric lights and were colored
through procedures such as iron and nickel enameling. The general atmosphere of his images reflects an idealized cosmopolitan and bourgeoisie
elegance, which promoted a level of artistic refinement rarely seen in the
country.
111
ESTUDIO VARGAS
HERMANOS
(AREQUIPA, XXXX)
112
113
116
117
Fbrica de chocolates La Ibrica,
Arequipa
1927
Aristotipo
23,5 x 17 cm.
Museo de Arte de Lima. Donacin Fundacin Telefnica
118
119
JUAN MANUEL
FIGUEROA AZNAR
HISTORIA DE AMOR
Y DESENGAO
ca. 1907
INDIGENISMOS
INDIGENISMS
120
broad cultural and political program motivated by the will to vindicate the
rights of the indigenous peoples. In the field of painting, this term has been
associated mainly with the figure of Jos Sabogal and his disciples: Camilo
Blas, Julia Codesido and Enrique Camino Brent, amoung others. Sabogals
position as director of the National School of Fine Arts (NSFA) allowed him
Izcue or Jorge Vinatea Reinoso were also drawn to these subject matters
yet they approached them from independent positions. The view to the
that looked to reaffirm their presence on the national stage. This compli-
that went from the official rhetoric of the government of Augusto B. Legua
influential figure was Jos Carlos Maritegui. Over and above these differ-
ences, the search for images of a nation that could be agreed on and
imposed on the cultural life of the country, from music and photography to
tradicin indgena.
decorative arts and design. For the first time in republican history, the
nation identified itself with indigenous traditions.
122
Jos Sabogal, the founder of the artistic indigenist movement, is one of the
most polemic and influential characters in Peruvian art in the first half of the
twentieth century. Educated in Europe and Buenos Aires, he moved to Jujuy
where he became involved with the nativist tradition of painting from northern Argentina. In 1918 he returned to Peru and the highlands and stopped off
in Cuzco. There he prepared a series of paintings portraying traditional city
life, which were shown in 1919 in an exhibition now considered to be the
origin point for modern art in Peru. A member of the teaching staff at the
National School of Fine Arts, he imposed the teaching of indigenous methods. After a stay in Cuzco in 1924, Sabogal fully assumed the project of
designing a programmatic vindication of the indigenous as a symbol of the
nation. He thus became linked with the political agenda of the Marxist intellectual Jos Carlos Maritegui, who declared Sabogal to be the first Peruvian painter in 1927. His promotion to director at the National School of
Fine Arts in 1933 made his project official, transforming it into an authentic
movement through the distribution and wide support of the work of his fol-
La Santusa
1928
leo sobre tela adherida a nrdex
65.5 x 55.5 cm.
Museo de Arte de Lima
Donacin Manuel Cisneros Snchez
y Teresa Blondet de Cisneros
V-2.0-0401
123
JOS SABOGAL
DIGUEZ
(CAJABAMBA, 1888 - LIMA, 1956)
Paisaje
1930
leo sobre tela adherida a nrdex
48 x 45 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez y
Teresa Blondet de Cisneros
V-2.0-0399
124
Paisaje de Cayma
1940
leo sobre tela
65,5 x 66 cm.
Museo de Arte de Lima.
Donacin Bernardo Moravski
V-2.0-0364
125
Camilo Blas
1927
leo sobre tela
67 x 56 cm.
Museo de Arte de Lima.
Donacin Juan Carlos Verme, Armando
Andrade, Livia Benavides, Ral Otero,
Alberto Rebaza y Oswaldo Sandoval
2009.13.1
126
127
128
A student of Jos Sabogal at the National School of Fine Arts, Camilo Blas
[Alfonso Snchez Urteaga] was also Sabogals first disciple to accompany
him to Cuzco in 1924 on a trip that would be foundational for the artistic
indigenist movement. Before meeting his teacher however, Blas was already
familiar with painting local subject matters in the provincial context of Cajamarca his birthplace and under the guidance of his uncle Mario Urteaga.
From there he moved to Trujillo where he studied law and became involved
with the young intellectual circles of the city. Due to the advanced level of
his knowledge of painting he was able to progress quickly at the National
School of Fine Arts. After two years of study he completed his education as
a painter and in 1924 he worked on the decoration of the Saln Ayacucho in
the Government Palace. These works demonstrate his interest in traditionalist subject matters, which he often invested with a certain air of irony.
Throughout the following decade Blas would portray diverse aspects of popular urban life in Lima marked by the emergence of local mass culture. With
La procesin del Seor de los Milagros [The Procession of Miracle Man],
129
CAMILO BLAS
(CAJAMARCA, 1903 - LIMA, 1985)
130
131
132
JULIA CODESIDO
(LIMA, 1883-1979)
RINCN URBANO
1940
Dotado de un precoz talento artstico, Enrique Camino Brent sera el miembro ms joven del primer ncleo indigenista reunido alrededor de Jos
Sabogal. A los veintiocho aos de edad, en 1937, era designado profesor de
la Escuela Nacional de Bellas Artes de Lima y emprenda un viaje de estudios al sur del pas con miras a su segunda exposicin. Al momento de presentarla, en junio de 1938, algunos comentaristas llegaran a reconocer en
Camino Brent al verdadero continuador de Jorge Vinatea Reinoso. Como l,
habra logrado sintetizar a su modo la refinada tcnica pictrica del maestro
acadmico Daniel Hernndez, con los postulados programticos nacionalistas de Sabogal. A ese conjunto de obras pertenece el Cristo de Tayankani,
imagen asociada con el culto al Seor de Qoyllurriti en Quispicanchis. La
obra refleja la fascinacin del pintor por los componentes mgicos de la
religiosidad en el mundo andino rural. La hiertica escultura del crucificado
se yergue sobre sus devotas indgenas, cuyas siluetas estilizadas ofrecen un
contrapunto cromtico al arcaico retablo dorado que sirve de fondo a la
escena.
Blessed with great artistic talent, Enrique Camino Brent was one of the
youngest members of the group of indigenist painters who convened around
Jos Sabogal. At around twenty-eight years old, in 1937, he was offered a
teaching position at the National School of Fine Arts. Around that time he
made a research trip to the south of the country. In Cuzco and his own
region he captured local scenes with a view to producing a second exhibition
in the capital. On presenting the show in June 1938, a few commentators
would even suggest that Camino Brent was the true continuation of the
work of Jorge Vinatea Reinoso. Like him he had managed to uniquely combine the refined pictorial technique of the academic professor Daniel
Hernndez with the nationalist program of Sabogal. An example from this
series of work is Cristo de Tayankani [Christ of Tayankani]. It is an image
associated with the cult of Qoyllurriti in Quispicanchis. The work reflects the
painters fascination with the magical components of religious practices in
the rural Andean world. The hieratic sculpture of the crucified stands over
its indigenous devotees, whose stylized silhouettes offer a chromatic coun-
134
135
ENRIQUE CAMINO
BRENT
(LIMA, 1909-1960)
CRISTO DE TAYANKANI
1937
A member of the first promotion of the National School of Fine Arts, Jorge
Vinatea Reinoso was considered to be one of the most talented artists of his
generation and his premature death was seen to disrupt a promising career.
Vinatea was already a well-known caricaturist before beginning his formal
studies in painting in 1919. The virtuosity of his production meant that he
was a favorite student of Daniel Hernndez and he was also linked with the
work of Manuel Piqueras Cotol. Both inculcated in him a commitment to the
technical bases of the profession. This would end up creating a distance
from the deliberately crude aesthetic of the Sabogal school. His attachment
to formalist conceptions would be a step away from political commitments. It
was this that would allow his works to gain a wide reception throughout the
life of the artist. He captured emblematic images of Criollo and indigenous
life, portraying them as two separate elements of the nation of Peru. The
latter gained prominence in his work from 1925 onwards when a journey to
the south of Peru inspired a series of images dealing with farm-life and the
rural communities in the Andes. In these kinds of works he privileged grand
scenes populated by anonymous figures, while his compositions of the Criollo culture retained a more intimate portrayal of those represented.
136
JORGE VINATEA
REINOSO
(AREQUIPA, 1900-1931)
Plaza de Chucuito
ca. 1928
Acuarela sobre papel
30,2 x 50,3 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez y
Teresa Blondet de Cisneros
V-2.0-1130
Tantahuasi
1929
leo sobre tela
71 x 56 cm.
Museo de Arte de Lima.
Donacin Jos y Enriqueta Graa Mir
Quesada
1997.22.1
A Amancaes
1927
leo sobre tela adherida a nrdex
95 x 74 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez y
Teresa Blondet de Cisneros
1978.4.25
139
140
141
MARIO URTEAGA
ALVARADO
(CAJAMARCA, 1875-1957)
Adoberos
1937
leo sobre tela
47 x 80 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2013.
Donacin Juan Carlos Verme en memoria de Ernesto Baertl Montori
2013.15.1
Maternidad
1946
leo sobre tela
47 x 80 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2013.
Donacin Juan Carlos Verme
en memoria de Ernesto Baertl Montori
2013.15.1
142
143
Pintor y grabador, Francisco Olazo (Cuzco, 1904-1948) es uno de los principales exponentes del indigenismo cuzqueo, movimiento que buscaba reivindicar el pasado incaico y sus resonancias contemporneas en la regin como
base de la nacionalidad peruana. Hijo de un escultor que le impartira sus
primeras lecciones, careci de una formacin propiamente acadmica al
igual que la mayora de sus paisanos artistas. En 1927 se traslad a Europa
en compaa del puneo Domingo Pantigoso, con una beca otorgada por el
gobierno peruano que finalmente no parece haberse hecho efectiva. Un ao
despus, en la capital francesa, exhibi en la Asociacin Pars-Amrica
Latina. De retorno de Europa, expuso en 1932 en el estudio cuzqueo de
Martn Chambi, dando inicio a una secuencia de exhibiciones entre aquella
ciudad, Lima y Arequipa. Olazo tambin sera coeditor, junto con Pantigoso,
de la revista Cunan (Arequipa, 1931-1932), en la que public algunos grabados
de corte primitivista. A diferencia de este tipo de trabajos, la pintura de
Olazo se mantuvo apegada a cierto sentido acadmico de la factura y composicin, y se enfocara en la representacin idlica del paisaje serrano.
Ejemplo de ello es su vista de la campia de Calca, con el fondo montaoso
denominado Calvario.
Painter and engraver, Francisco Olazo (Cuzco, 1904-1948) is one of the main
exponents of Indigenism from Cuzco a movement that sought to vindicate
the Incan past and its contemporary resonances in the region as a base for
Peruvian nationality. Son of a sculptor who gave him his first classes, he
lacked a formal academic education like many of his fellow countrymen
artists. In 1927 he moved to Europe in the company of Domingo Pantigoso
from Puno, with a grant awarded by the Peruvian government that in the
end never arrived. A year later in the French capital, he exhibited in the Asociacin Pars-Amrica Latina. On his return to Peru, he exhibited in 1932 in
the Martn Chambis studio in Cuzco, initiating a series of exhibitions
between Cuzco, Lima and Arequipa. Olazo would also be coeditor, together
with Pantigoso, of the magazine Cunan (Arequipa, 1931-1932), in which he
published various engravings with a primitive edge. In contrast to these
types of works, Olazos painting remained attached to a certain academicism
regarding execution and composition and it would continue to focus on the
idyllic representation of mountain landscapes. An example of this is his representation of the countryside of Calca, with the mountainous background
of Calvario.
144
francisco Olazo
145
FRANCISCO OLAZO
XXXXXXXX
xxxxxxxx
146
Although Jos Sabogal began as an engraver in Buenos Aires and Lima, his
journey to Mexico in 1922 prompted his discovery of the potential of wood
block printing, a technique that would end up defining a large part of his
work in this field. Largely due to the wide distribution of the work of the
French artist Jean Charlot, he became increasingly influenced by this working procedure and the primitive aesthetic with which it was associated. On
his return to Peru, this genre of working became a fundamental component
for the definition of indigenism as an authentic language of the avant-garde
without parallel in the field of painting and it would burst onto the local
graphic arts scene and infuse it with a new set of aesthetic ideals. A few of
Sabogals most emblematic wood block prints were made around 1925,
during a journey he made to Cuzco in the company of Camilo Blas. This was
a significant marker for the beginning of the movement. Throughout his
journeys to the southern Andes both artists would collaborate with numerous publications, which functioned to widely distribute this graphic language
and influence the work of the regional artists.
147
JOS SABOGAL
DIGUEZ
(CAJABAMBA, 1888 - LIMA, 1956)
Picantera arequipea
ca. 1925
Xilografa sobre papel
20,2 x 28,4 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
148
Kolla
1925
Xilografa sobre papel
15,4 x 10,4 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
1996.6.2
Tipo Kolla
1925
Xilografa sobre papel
12,5 x 10,3 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
1996.6.2
Caporal
1925
Xilografa sobre papel
12,8 x 10,3 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
1996.6.2
149
Todo indica que Camilo Blas habra iniciado su trabajo como grabador en
1925, durante el viaje que realiz en compaa de Jos Sabogal a la sierra
sur del Per. Sea como fuere, sus primeras incursiones en este gnero estn
alineadas dentro de la grfica primitivista que Sabogal impulsaba en aquel
momento, al punto que en algunos casos resulta problemtico diferenciar
las obras de uno y otro artista. Al igual que su maestro, Blas estableci
nexos con los grupos de vanguardia indigenista regional, lo que le llev a
ilustrar en diversas oportunidades publicaciones como Kosko (1924-1925),
Boletn Titikaka (Puno, 1926-1930), Kuntur (Cuzco, 1927) y Cunan (Cuzco,
1931-1932). A esta poca temprana corresponden los grabados aqu reunidos,
cuyo formato evidencia que fueron pensados como vietas o pequeas ilustraciones. Tanto sus rostros indgenas, emplazados en primer plano, como
sus esquemticos paisajes andinos, enfatizan las huellas del buril sobre el
taco de madera para modelar las formas con una rudeza deliberada. El lenguaje sinttico resultante se diferencia as del detallismo narrativo presente
en las composiciones pictricas que Blas emprenda en aquel momento.
150
Paisaje andino
1927
Xilografa sobre papel
10 x 7,8 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
2008.3.1651
151
CAMILO BLAS
(CAJAMARCA, 1903 - LIMA, 1985)
152
Quebrada
ca. 1925-1930
Xilografa sobre papel
9,5 x 6 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
2008.3.1664
Paisaje andino
1927
Xilografa sobre papel
11,5 x 7,4 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
2008.3.1650
Paisaje andino
ca. 1925-1930
Xilografa sobre papel
15 x 8,7 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
2008.3.1656
Mujer indgena
ca. 1925-1930
Xilografa sobre papel
12 x 8,1 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
2008.3.1642
153
EL ESPIRITU DECORATIVO
152
The rupture that characterized the most radical avant-gardes was not only
nico ideal artstico asociado con lo moderno durante las primeras dca-
the artistic movements associated with the modern taking place during
das del siglo. Para un pblico ms amplio, la esttica propia de la vida con-
the first decades of the twentieth century. For a wider audience, it was the
ment of design coming to full fruition in the twenties with a synthetic and
Later labeled Art deco, this cosmopolitan horizon was not so much a sharp
defina como un punto de quiebre frente al arte anterior sino como la conci-
turning away from the previous styles and techniques of producing art but
ornamental, Art deco also functioned to spark a dialogue with the national-
ist revivalism prevalent at the time. It was the commitment to the idea of a
for local identities. It was among the wide panorama of pictorial representa-
tion produced by this trend that one of the most explosive moments for
siglo XX, las cuales llegaron a alcanzar proyeccin internacional con la obra
applied arts in Peru in the twentieth century happened. This would eventu-
ally reach an international audience with the work of artists such as Elena
Izcue and Reynaldo Luza. Art deco would also act as a catalyst for the
154
155
ELENA IZCUE
(LIMA, 1889-1970)
Taza y platos
ca. 1930-1935
Porcelana pintada a mano con
decoracin a tercer fuego en oro lquido
Taza: 3.9 x 10.3 x 12.7 cm.
Platos: 1.1 x 14 x 14 cm; 1.2 x 18 x 18 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
157
Diseo
ca. 1928-1938
Tcnica mixta sobre papel
33,9 x 25,3 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
Diseo
ca. 1928-1938
Tcnica mixta sobre papel
33,9 x 25,3 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
Tela
ca. 1928-1938
Tejido de lana de oveja estampado a
mano
40 x 27 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
Florero
ca. 1930-1935
Loza vidriada
16 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
Pauelo
Dcada de 1930
Tela de seda estampada a mano
49 x 48 cm.
Museo de Arte de Lima. Donacin Elba
de Izcue Jordn
158
Tela
ca. 1928-1936
Seda natural estampada a mano
40,5 x 23,5 cm.
Museo de Arte de Lima.
Donacin Elba de Izcue Jordn
Ilustrador de modas de relieve internacional, Reynaldo Luza (Lima, 1893 1978) surgi de la importante tradicin grfica local desarrollada a inicios
del siglo XX. En efecto, durante sus aos juveniles altern en el competitivo
mundo de los dibujantes limeos, al cual se integr tras abandonar sus estudios de arquitectura en Lovaina debido al inicio de la Primera Guerra Mundial. All destacara debido a su inters por la capacidad de sntesis formal
que ofreca el gnero, contrapuesta por el crtico Tefilo Castillo a la prevalencia de la caricatura poltica en el medio local. Esta tnica esteticista se
vera reforzada por su vinculacin con Abraham Valdelomar y el grupo Colnida, en cuya revista colabor como editor artstico. Como muchos otros
dibujantes de su generacin, Luza abandonara Lima en 1918 rumbo a los
Estados Unidos, en busca de un lugar dentro de las grandes revistas ilustradas internacionales. En 1919 ingresa a Vogue, publicacin que le abrira las
puertas al mundo de la alta moda neoyorkina hasta convertirse en uno de
los dibujantes de modas ms solicitados de su tiempo.
Internationally renowned fashion illustrator, Reynaldo Luza (Lima, 18931978) emerged within the context of the local graphic arts tradition developed at the beginning of the twentieth century. Indeed, in his youth he
moved amoung the competitive circles of the Limean cartoonists a scene
he participated in after abandoning his architectural studies in Lovaina
because of the beginning of the First World War. There he garnered attention
because of his interest in the genre and its opportunities for formal experimentation, which was in opposition to the critic Tefilo Castillo and the prevalence of political caricature in the local mediums. This vigor and enthusiasm for aesthetics would be reinforced by his encounters with Abraham
Valdelomar and the Colonida group, whose magazine the artist would collaborate with as an art director. Like many other cartoonists of his generation,
Luza would leave Lima in 1918 for United States in search of a position with
the most important illustrated international magazines. In 1919 he began
working with Vogue, a publication that would open the doors to the world of
New York high fashion. He would become one of the most requested fashion
illustrators of his time.
160
Reynaldo Luza
161
REYNALDO LUZA
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xxxxxxxx
Reynaldo Luza
162
Reynaldo Luza
163
Bolero de Ravel
(Interpretacin plstica)
1933
Gouache sobre papel
63 x 63,5 cm.
Museo de Arte de Lima.
Donacin Coleccin Petrus y Vernica
Fernandini
165
164
ANTONINO ESPINOSA
SALDAA
(LIMA, 1888-1969)
166
167
Mdico de profesin, Arturo Jimnez Borja fue hombre de mltiples intereses, asociados a mbitos tan diversos como la etnografa, la arqueologa y el
arte. Haba nacido en Tacna en plena ocupacin chilena, y lleg a Lima hacia
fines de la dcada de 1920. Poco despus se integr a Los Duendes, cenculo literario agrupado en torno al poeta y artista aficionado Jos Mara
Eguren. La labor de Eguren influira para que varios miembros del grupo
cultivasen una pintura intimista de tenor simblico o ldico, cuyo lenguaje
sinttico y decorativo era enarbolado como de vanguardia. As, Jimnez
Borja particip en la nica muestra de Los Duendes, presentada en 1931 bajo
el ttulo de Exposicin de Independientes peruanos, en un claro deslinde
con los crculos oficiales del arte local. All exhibi esta Cacera de venados,
protagonizada por un personaje cuyos grciles movimientos evocan los de
una escena de ballet. La imagen parece reelaborar el dibujo de una cermica
moche, en la lnea de las investigaciones que el autor desarroll paralelamente en torno al arte precolombino.
168
ARTURO JIMNEZ
BORJA
CACERA DE VENADOS
1931
170
171
MARIANO SOYER
AUTORRETRATO
1933
FOTOGRAFA REGIONAL
REGIONAL PHOTOGRAPHY
174
mientos del pas- optaron por una actividad itinerante o por instalarse en
cal composition and continued to employ a set background long after this
had fallen into disuse in the bigger cities. The wide range of expectations
had until then been left out of a visual memory of modern Peru.
The activity of mining and the large-scale violent processes of modernization that it produced for the Central Sierra region of Peru during the
mid-twentieth century are acutely registered by the impressive body of work
of Sebastin Rodrguez. Rodrguez was educated in the Lima based studio of
Luis Ugarte, whom he had followed from Huancayo when he was just fourteen years old. In 1928 Rodrguez moved to Morococha (4,500 m.s.n.m) as
an itinerant photographer. Morococha was the center of operations of the
Cerro de Pasco Corporation and they required the constant activity of a
photographer, whether this was to satisfy the needs of the company or the
workers themselves. After marrying Francisca Njera, Rodrguez properly
established his studio in 1934. It would remain active and uninterrupted for
around four decades. His work became known at the beginning of the 1980s
because of the interest of the North American photographer Frances Antmann, who organized an exhibition of some of his works in the Museum of
Contemporary Hispanic Art (MOCHA) in New York in 1987.
176
177
SEBASTIN RODRGUEZ
(HUANCAYO, 1896 - MOROCOCHA, 1968)
Deportistas
ca. 1935-1940
Impresin en gelatina de plata sobre
papel iluminada a mano
13,6 x 8,7 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 2009
2009.1.11
178
Retrato de joven
ca. 1935-1940
Impresin en gelatina de plata sobre
papel
8,7 x 6,3 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 2009
2009.1.9
Retrato de pareja
ca. 1935-1940
Impresin en gelatina de plata sobre
papel
8,7 x 6,3 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 2009
2009.1.9
Deportista
ca. 1935-1940
Impresin en gelatina de plata sobre
papel
8,7 x 6,5 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 2009
2008.34.1
180
Trabajadores posando en la maestranza
ca. 1935-1940
Impresin en gelatina de plata sobre
papel
27,5 x 35,5 cm.
Museo de Arte de Lima.
Donacin Museum of Contemporary
Hispanic Art, Fran Antmann y Familia
Rodrguez Njera
V-2.11-0288
182
183
JUAN ANTONIO
MENDOZA NEYRA
EL MANTEO, BATALLN DE
INFANTERA
ca. 1938-1940
Jos Gabriel Gonzlez fue uno de los fotgrafos cuzqueos que lograron
mayor xito comercial a lo largo de la primera mitad del siglo XX. Hacia 1899
su familia haba arrendado un local a la Fotografa Inglesa, y all aprendera
el oficio con el misionero protestante Thomas Penn. Dos aos despus, tras
el cierre de aquel estudio, Gonzlez adquiri los equipos para montar su
propio establecimiento. Su habilidad como administrador lo llev adems a
asociarse en distintos momentos con Juan Manuel Figueroa Aznar y con
Csar Meza. El estudio se convertira en un activo negocio familiar en el que
tambin trabajaron dos hijos de Gonzlez, Roberto y Washington. En gran
medida, su xito descansara en su talento empresarial, que lo mova a satisfacer todo gnero de demandas y a mantenerse dentro de los mrgenes de
un gusto tradicional.
Jos Gabriel Gonzlez was one of the few photographers from Cuzco who
managed to find commercial success throughout the first half of the twentieth century. In 1899, his family rented a shop space to la Fotografa Inglesa
and it was there that he learned his trade under the auspices of the protestant missionary Thomas Penn. Two years later after the closure of the
studio, Gonzlez acquired the equipment necessary to set up his own studio.
His skill as an administrator would also bring him in contact with Juan
Manuel Figueroa Aznar and Csar Meza. The studio would become a successful family business where his two children, Roberto and Washington,
would also work. His success was to a large extent exhausted by his entrepreneurial talent, which led him to satisfy a wide variety of demands and
ultimately remain within the margins of a traditional taste.
184
185
JOS GABRIEL
GONZLEZ
(CUZCO, 1875-1952)
DA DE PAGO, CUZCO
ca. 1926
186
187
BALDOMERO ALEJOS
BAUTISTA
RETRATO DE FAMILIA
ca. 1930
EL MODERNISMO FIGURATIVO
FIGURATIVE MODERNISM
188
Fine Arts, the artistic indigenist movement began to be promoted and the
and training gained wide support. However, other artists sought to position
number of these artists had travelled to Europe where they had encoun-
Grau el nico que lograra erigirse como una figura antagnica de Sabogal a
movement, it was Ricardo Grau on his arrival to Lima in 1937 who ulti-
mately stood out as the key antagonist figure to Sabogal. The same year,
the Saln de Independientes created the first public platform for those who
end up identifying those painters who sought an updating of the art prac-
Anchored by figurative art and the traditional pictorial genres such as still
life, landscape painting and portrait painting, the practices of the Independents defined the course that Peruvian modernism took until the eruption
of abstract art.
Nacido de padres peruanos en Burdeos (Francia), Grau lleg al Per plenamente formado en 1937, luego de un intenso aprendizaje en Europa. Alumno
de la Escuela Real de Bellas Artes de Bruselas y de la Escuela Superior de
Bellas Artes de Pars, frecuent tambin los talleres privados de Andr
Favory, Andr Lothe y Fernand Lger. Su obra responda a una de las lneas
ms tradicionales del llamado retorno al orden en el arte francs de entreguerras. Poco despus de llegar a la capital peruana, el pintor participara en
el I Saln de Independientes, exposicin que por primera vez otorgaba presencia pblica a la oposicin contra el indigenismo sabogalino. Se dio a
conocer entonces por su trabajo en gneros tradicionales como el retrato o
el bodegn, los que le permitan eludir cualquier intencin anecdtica o localista para enfocarse nicamente en los valores formales de la pintura. Como
retratista, demostr una slida tcnica, inspirada inicialmente por la herencia cezzaniana, que implicaba un neto contrapunto frente a los aportes de
Sabogal y su grupo. Su retrato de Ana Pizarro, cuada de Enrique Camino
Brent, conjuga la descripcin de la modelo con cierta atmsfera de misterio
que evoca lejanamente sus contactos con la pintura fantstica europea. Ms
all de su tmido lenguaje modernista, el compromiso de Grau con el arte
por el arte cuestionaba las restricciones temticas y la deliberada crudeza
tcnica del indigenismo.
190
191
RICARDO GRAU
ANA PIZARRO
1938
192
Carlos Quzpez Asn is a key figure in the process of updating the local arts
scene in accordance with modernist styles. After his formal education in
Europe, he returned briefly to Peru between 1927 and 1928 a moment that
marked a distancing from the indigenist artistic hegemony. He subsequently
moved to Los Angeles to dedicate himself to mural painting. In 1936 he
returned to his country and settled definitively to work among the local art
scene. The following year he participated in the First Saln de Independientes. Although he lacked the status of protagonist that Ricardo Grau, Quzpez became an exponent of formal rigor and played an important role in the
replacement of teaching styles at the National School of Fine Arts after the
removal of Jos Sabogal. His drawing skills were not only demonstrated in
his work as an illustrator, but also in the various still-life sketches he produced for his pictorial compositions. It is through observing these kinds of
work that the evolution of the painter, who oscillated between a conservative classicism and derivations of cubism, can be appreciated. In the absence
of orders, his interest in mural painting can be seen in his easel painting,
which often required ambitious compositions characteristic of the genre.
Carlos Gales
1935
Lpiz sobre papel
26 x 17.2 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2011.
Donacin Roberto Daino
Vieta
ca. 1940-1950
Tinta sobre papel
17.7 x 15.2 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2011. Donacin Roberto Daino
2011.19.269
194
195
Composicin
1947
Lpiz y acuarela sobre papel
15.2 x 10.8 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2011. Donacin Roberto Daino
2011.19.23
Composicin
ca. 1940-1950
Tcnica mixta sobre papel
10.4 x 7.3 cm.
Museo de Arte de Lima.
Comit de Formacin de Colecciones
2011. Donacin Roberto Daino
2011.19.255a-b
Desde los diecinueve aos, Csar Moro se dio a conocer por sus dibujos,
acuarelas y pinturas, incluso antes de que su poesa lo distinguiera en el
panorama de la cultura peruana. Como ha escrito uno de sus mejores
amigos, el poeta Emilio Adolfo Westphalen, Moro se adhiri en un primer
momento al Art-Noveau y luego al Art-Dco. La visualidad geomtrica del
segundo, al menos en principio, empalma muy bien con los rigores del
cubismo al que Moro se adhiere en 1925, tan pronto se afinca en Pars. Sin
embargo, su filiacin potica con el surrealismo motiv que, desde fines de
la dcada de 1920, enfatizara el elemento vital y subjetivo de sus hallazgos,
sobre todo en el uso del color. En esta obra de 1945, el extrao personaje
que da la espalda ocupa una posicin central y, en apariencia, nos acompaa
en una suerte de paisaje, cuyas formas descompuestas insinan movimiento
y misterio. Se perfila aqu un modo abstracto que juega con la impresin de
movimiento, por el que Moro se pone a buen recaudo de los esquematismos
de cualquier cubismo tardo, mientras los colores nos orientan hacia las
posibilidades pictricas de lo bidimensional. La modernidad de la pintura de
Moro es programtica y significa, aun en los momentos ms complejos y
difciles de su existencia, el umbral hacia un espacio de libertad sostenido
con insistencia, una y otra vez.
At nineteen years old, Csar Moro became known for his drawings, watercolors and paintings even before his poetry would distinguish him in the panorama of Peruvian culture. As one of his best friends the poet Emilio
Adolfo Westphalen explained, Moro was originally drawn to art noveau and
the styles of art deco. The geometric visuality of the latter, at least at first,
was very much in accordance with the exactitude and harshness of cubism,
which Moro became interested in as soon as he arrived in Paris in 1925. However, towards the end of the 1920s his poetic surrender to surrealism caused
him to begin to emphasize the lively and subjective elements of his explorations, which can be seen above all in his use of color. In this work from 1945,
the strange character who gives the viewer their back occupies a central
position and at first appears to inhabit a kind of landscape, whose decomposed forms engender movement and mystery. Here the artist proposes an
abstract method that plays with producing the illusion of movement. It
echoes cubisms schematic style of working, while the colors also recall the
pictorial possibilities of the two-dimensional work. The modernist characteristics of the painting of Moro are programmatic and signify, even in the most
complicated or difficult moments of its existence, a threshold that searches
for a liberated space sustained by persistence.
196
197
CSAR MORO
(LIMA, 1903-1956)
SIN TTULO
1945
198
199
ANTONINO ESPINOSA
SALDAA
(LIMA, 1888-1969)
MARINA
1936
200
201
REYNALDO LUZA
(LIMA, 1893-1978)
SOLEDAD
1959
Dotado de gran talento y de una personalidad independiente, Srvulo Gutirrez se form libremente en Pars y Buenos Aires antes de instalarse de
maanera definitiva en Lima. Aqu abandonar su estilo inicial, caracterizado
por un dibujo preciso de aire clasicista para embarcarse en una modalidad
expresionista, en sintona con el mundo bohemio que frecuent. El retorno a
Ica, su ciudad natal, en 1951, desencaden una serie de paisajes desrticos
que constituyen uno de los ejes de su obra madura. El Paisaje de Ica representa uno de los oasis o lagunas que interrumpen ocasionalmente el arenal.
Tanto la exaltacin del color como el ritmo agitado de las texturas contribuyen a desmaterializar las formas naturales para crear una suerte de alucinado paisaje mental. En los aos siguientes, Srvulo frecuentar otros
temas relacionados con el ambiente iqueo, impregnndolos de un cierto
aire mstico. Su Cristo est inspirado por la tradicional devocin al Seor de
Luren, mientras que la Bruja de Cachiche recrea un tpico mgico-religioso
del imaginario popular. En este tipo de imgenes, el pintor extrem an ms
la soltura de su ejecucin hasta dejar apenas sugeridos los rasgos esenciales
del motivo representado.
Equipped with great talent and an independent personality, Srvulo Gutirrez was educated in Paris and Buenos Aires before settling definitively in
Lima. Here he abandoned his early style, characterized by a kind of precise
drawing that maintains a classicalist air, in favor of a expressionist mode of
working that was more in tune with the bohemian world he frequented. His
return to Ica, his birthplace, in 1951, triggered a series of deserted landscapes that constitute one of the main subject matters of his later work. His
Paisaje [Landscape] represents the oasis and lagoons that occasionally
interrupt the long stretches of sand. The intensity of the color as well as the
agitated rhythm of the textures of the paint contribute to a dematerialization of natural forms, which in turn create a staggering and imaginative
mental landscape. Throughout the following years, Srvulo would revisit
other subject matter related to the Iqueo environment, impregnating it
with a certain air of mysticism. His Cristo [Christ] is inspired by the traditional devotion to Seor de Luren, while la Bruja de Cachiche [The Witch of
Cachiche] reflects elements of a popular magic-religious imagination. In
these kinds of images, the painter takes the unfolding of his style to an
extreme: he leaves the main features of what is being represented only
barely suggested.
202
203
SRVULO GUTIRREZ
ALARCN
(ICA, 1914 - LIMA, 1961)
Paisaje de Ica
1954
leo sobre tela
60.5 x 73 cm.
Museo de Arte de Lima.
Fondo de Adquisiciones 2006
2006.11.1
Cristo en negro
ca. 1960
leo sobre cartn
59 x 38 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez
y Teresa Blondet de Cisneros
V-2.0-1137
204
La bruja de Cachiche
ca. 1960
leo sobre cartn
52 x 42 cm.
Museo de Arte de Lima.
Donacin Manuel Cisneros Snchez
y Teresa Blondet de Cisneros
V-2.0-1133
205
Among the members of the artistic indigenist movement, Julia Codesido was
one of the artists who were the most susceptible to international modernism. This tendency increased with time and made it possible for her to establish beginning at the end of the 1930s a harmony between the interests
and intentions of the Independents, despite their confrontations with the
teachings of Sabogal. Just as she began to do research trips to the interior
of the country as part of her work for the Institute of Peruvian Art beginning
in 1946, she began to develop an extremely stylized way of representing the
figure. She painted Mujeres del Amazonas [Women of the Amazons] as a
result of one of her journeys. This canvas reflects her interest in the latest
indigenist artistic production and in the Peruvian jungle. Reduced to essential elements, the figures are viewed from behind transporting jugs of water
and covered in halos of light that erupt in the middle of the vegetation and
add an air of fantasy to the scene. Codesido thus adopted a more picturesque style, in contrast to the more tragic atmosphere of the figures of her
previous work.
206
207
JULIA CODESIDO
(LIMA, 1883-1979)
MUJERES SELVTICAS
1949
After a brief surrealist stage, Ricardo Grau paved the way for the genre of
still life to occupy center stage, while also modifying the tradition with
formal distortions and intensifying the use of color. Both aspects pushed the
tradition closer to the contemporary painting of Srvulo Gutirrez, who until
then had produced work along expressionist lines. Grau, however, maintained a certain formal contention that distanced itself from any repentista
intentions. In this canvas, the lack of any local specificity to the objects that
make up the composition is common within the genre. Fruits, fruit bowl, a
bottle and a curtain are all perfectly recognizable. At the same time they
transcend a naturalist representation with the sketchy contours and chromatic brushstrokes that enclose them. This is furthermore intensified by a
color palate that was also not conceived for necessarily direct representative purposes. As Juan Acha has suggested, in these works the color looks
for its independence and saturation, a process that in many ways prefigures
the later arrival of abstract painting at the beginning of the 1960s.
208
209
RICARDO GRAU
BODEGN
ca. 1945-1950
RICARDO GRAU, APSAV, LIMA, 2014
Armando Villegas travelled to Bogota towards the end of 1951 after having
been accepted by the National School of Fine Arts in Lima. In the Columbian
capital he took classes to perfect his skills with the painter Ignacio Gmez
Jaramillo and decided to settle definitively there. In this period he belonged
to Entierro, whose socially inclined subject matter had been influenced by
the mural painting of Gmez Jaramillo. Although his departure to Lima had
coincided with the first exhibitions of abstract art, Villegas remained initially
aligned within a modernism anchored by local subject matters. His posturing
responded to a wider context that started to take form in the 1950s, which
would produce the kind of artistic modernism that would define Latin America in the face of the cosmopolitanism of non-figurative art. However, just a
few years later his work would eventually experience a gradual shift towards
abstraction, which was made evident in the first exhibition he presented in
Lima in 1955.
210
211
ARMANDO VILLEGAS
EL ENTIERRO
1952
Alberto Dvila was awarded the Ignacio Merino national prize for painting in
1953 when he was still very young and had already stood out amoung the
artists of his generation. At that time, his artistic project seemed to orientate itself among the language of figurative art and the overcoming of the
dichotomies between the local and the universal, one of the main axes of
debate in the Limean art scene. Dvila ventured into this discussion with his
still-life painting, one of Peruvian modernisms most appreciated genres
because of the way it lends itself to an inquiry into purely material questions
over and above any anecdotal content. As made evident in this picture, Dvilas painting is characterized by a structural and compositional rigor that
manages to combine different represented elements and whose austerity is
reframed by a color palate dominated by grays. However, his work also incorporates pieces of popular art, whose recognizable forms seem to operate as
symbolic characters that refer to a Peruvian national imagination. The presence of these symbols reflects the interest held by the proponents of modernism in the visible manifestations of traditional culture, whose primitivism they perceived as an element associated with a contemporary
aesthetic.
212
213
ALBERTO DVILA
RETABLO AYACUCHANO
1954
VANGUARDIA
MODERNISTA E INICIOS
DE LA ABSTRACCIN
MODERNIST FORERUNNERS
AND EARLY ABSTRACTION
214
Abstract art arrived in Peru only after the Second World War and although
various artists may be seen as decisive to the field namely Juan Manuel
in 1951 that stands out as the critical juncture for the movement. Thereaf-
the influence of a modernist and figurative art practice still anchored in tra-
ditional painting genres such as landscape, portrait, still life and the nude.
ciated with the Independents; in 1951 Emilio Goyburu was also working on
enced by the magazine Art daujourdhui and the abstract art workshops of
Jean Dewasne and Edgar Pillet and, on the other hand, those like Szyszlo
who were motivated rather by the gestural quality of color and pursued
gradual, que gener un intenso debate entre los defensores y los detracto-
investigations into the potential of the pictorial matter itself. Here was the
Luis Mir Quesada and the writer Sebastin Salazar Bondy) whose culmi-
ra por definirse tres aos despus, con la apertura del I Saln de arte abs-
nating moment falls between 1954 and 1955. The success of this painting
trend would find confirmation three years later with the opening of the First
Salon of Abstract Art, organized for the Lima Art Museum by Eduardo Moll,
Benjamn Moncloa and Pedro Pablo Caso.
216
Naturaleza muerta
1945
Yeso modelado y coloreado
27 x 21 cm.
Museo de Arte de Lima.
Donacin Fernando de Szyszlo y Lila
Yabar de Szyszlo
2012.26.1
217
FERNANDO DE SZYSZLO
(LIMA, 1925)
Sin ttulo
De la serie 8 litografas en homenaje a
Vallejo
1950
Litografa sobre papel
49 x 40 cm.
Museo de Arte de Lima.
Donacin Fernando de Szyszlo y Lila
Yabar de Szyszlo
2012.26.2
218
Sin ttulo
De la serie 8 litografas en homenaje a
Vallejo
1950
Litografa sobre papel
49 x 40 cm.
Museo de Arte de Lima.
Donacin Fernando de Szyszlo y Lila
Yabar de Szyszlo
2012.26.3
In the 1950s, the work of Emilio Goyburu experienced popularity due to his
constructions of pure geometric compositions that were explicitly bold. This
work is constructed by a series of small circular elements that float atop a
dark background. The green obscures the right side of the composition
through the elegant radiance of the color and inside of these forms each of
the greens is different from the other, while each collection of them is also
different from the others. In this piece there is an intense musical sonority
that pursues a kind of synesthesia between the visual and aural senses. Not
surprisingly, in one of his texts Goyburu expressed his interest in the spiritualism that lies behind French cooking, or in other words that which had
emerged after the Second World War with the work of artists such as
Auguste Herbin ( 1882 1960) and Jean Dewasne (1921 1999), among
others. He speaks, for example, of the repetitive patterns of geometric forms
that characterize Herbins compositions, or the elegance, serenity and
unhurriedness of the curves of the visual shapes created by Dewasne; all of
which are deployed with the aim of creating a unique dynamic that moves
our spirit and produces pleasure. In 1953 Goyburu and thirteen other Peruvian artists would participate in the 2nd Sao Paulo Biennale, exhibiting works
that developed this line of geometric exploration.
220
221
SIN TTULO
1951
At the beginning of the 1950s, Anbal Santivez, participated in an exhibition of the new talent recently graduated from the National School of Fine
Arts, all of whom were strongly affiliated with modern painting. There he
became involved in the production of still life paintings that identified with a
certain academic cubist style whose lineal precision was still confined by the
traditional referents of genre painting. However, this painting in particular is
non-representational and not so strict in its geometric style. The yellow
ochre color shifts towards the back as a result of the red ochre color, which
in turn comes forwards and gives vitality to the combination of greyish
blues. The visual and rational control of the vertical and horizontal lines
existing without acute angles or curves gives the impression of a stable
composition, which takes much from constructivism and the work of Mondrian. This new language emerged in part as a result of a trip to Madrid to
study monument restoration at the San Fernando School of Fine Arts. It was
here that he was particularly impressed by an exhibition of the work of
Spanish abstract painter Luis Feito, produced by the Madrid-based gallery
Bucholz in 1954. It was this exhibition that would ignite his desires for
modernity. Sin ttulo [Untitled] is a transitional painting that reflects a
move towards more dynamic compositions, which include curves and a wider
range of colors. Just before his return to Peru, Santivez managed to realize an exhibition of the works of his that pursue this line of production in the
very same gallery.
222
223
ANBAL SANTIVEZ
SIN TTULO
ca. 1955
La pintura de Ricardo Grau pas por varias etapas antes de afiliarse al lenguaje no figurativo. En Composicin, las formas y colores que invaden el
espacio pictrico dejan ver elementos estilizados, a veces alargados a
manera de cintas de colores, pero tambin otras formas ms escuetas y
orgnicas que insinan figuras humanas o algn tipo de fusin con mquinas simples. Grau vena de Pars y, a su llegada al Per en 1937, asumi una
beligerancia antiindigenista que favoreci prcticas estticas asociadas a la
pintura moderna y al credo espiritualista del arte por el arte. Su obra inicial,
caracterizada por un naturalismo que apostaba por los gneros pictricos,
dio paso a un proceso de bsquedas y hallazgos que, hacia mediados de la
dcada de 1940 y segn el crtico Juan Acha, lo libera de dicho academicismo. Para la dcada de 1950, sin embargo, dicha liberacin favorece la
agresividad de las formas que, cortantes, juntan lo orgnico con la mquina,
como se aprecia en este lienzo. Todo ello apunta hacia interrogantes plsticas que parecen retomar el esquematismo cubista a travs del impulso de
aproximarse hacia las estticas de las culturas precolombinas, por medio de
una discusin en la que el surrealismo, en su aprecio por el mito y lo arcaico,
parece llevar la delantera. La obra oscila as entre las citas a Picasso y a la
cultura Vics (500 a.C. - 500 d.C.), de la que Grau se haba declarado ferviente admirador.
The work of Richard Grau went through various experimental periods before
settling on a distinctly non-figurative language. In Composicin [Composition], the forms and colors that invade the pictorial space allow certain
stylized elements to reveal themselves. These are sometimes elongated like
colored ribbons but also include other more simple and organic forms, which
hint at human figures or figures fused with basic machines. Grau originates
from Paris and, on his arrival to Peru in 1937, he expressed a certain hostility
to the artistic indigenist movement, favoring instead aesthetic practices
associated with modernist painting and the spiritualist creed of art for arts
sake. His initial works, characterized by a naturalism that embraced the
pictorial genres, later gave way to a process of experimentation and discovery that, towards the end of the 1940s according to the critic Juan Acha
liberated him from the constrictions of academicism. Throughout the
decade of the 1950s however, this liberation favored aggressive forms that
sharply brought together the organic and the machine something that can
be appreciated in this canvas. These decisions point towards an artistic project that appears to assume the cubist schematic method through an interest
in pre-Colombian cultures that as a result of the discussions provoked by
surrealism in which an appreciation for mystical or ancient imagery prevails
suddenly appears at the forefront. His work oscillated in this way between
echoing Picasso and referencing the Vicus culture (500 B.C. - 500 A.D.), of
which Grau had declared himself a passionate admirer.
224
225
RICARDO GRAU
COMPOSICIN
1957
226
227
BENJAMN MONCLOA
(LIMA, 1927)
ZOO
1956
En Ritmo en tres de Joaqun Roca Rey, tres personajes que se dan la mano
parecen danzar, como en el clebre y clsico motivo de las tres gracias, para
imponer una presencia trascendente, pero al mismo tiempo dinmica. Las
figuras escultricas, a manera de grupo, no obstante estar fundidas en
bronce, se muestran ligeras y grciles. Se trata de formas estilizadas que
recogen la esttica de la modernidad en escultura al absorber, a su manera,
las lecciones de Henry Moore y Constantin Brancusi. Se toma la propuesta
de personajes cuya apariencia humana es an reconocible del primero, pero
tambin la plasmacin de una forma ttem del segundo que nos remiten una
y otra vez a piezas nicas y singulares. La produccin en escultura de Roca
Rey es parte sustancial del credo moderno que, para la dcada de 1950,
tom el poder en las instituciones del arte peruano, al romper con una tradicin figurativa que estaba tanto en la base de la produccin de monumentos
para el espacio pblico como en el tpico aprendizaje de academia. Corresponde a Roca Rey junto a Jorge Piqueras Snchez Concha inaugurar una
importante presencia internacional de la escultura peruana con su participacin en la II Bienal de Sao Paulo, a fines de 1953.
228
229
JOAQUN ROCA-REY
Bronce fundido
195 x 400 cm.
Museo de Arte de Lima.
Donacin del autor
V-2.1-0089
RITMO EN TRES
1956
INFORMALISMOS
INFORMALISMS
230
lidada en el medio artstico local. Tanto la mayor parte de los artistas jve-
practice by the local art scene. Many young artists (such as the painters
nes como los pintores vinculados al grupo de los independientes haba ter-
had already influenced academic art teaching at the National School of Fine
Arts. A new generation of artists would graduate from this institution and
the rigor and coldness of geometric abstract art. Framed within the growing
with the international art world something promoted largely by the Insti-
franca actually served as a base for searching for local subject matters and
Szyszlo, Dvila or Springett, who from the beginning of the 1950s began
approaching the ancestral as subject matter for artwork. The success of the
as, por obra de crticos como Marta Traba u Octavio Paz, a la idea de un
incorporated the idea that modern art should be associated with a Latin
American identity. This idea was further supported and promoted through
the work of critics such as Marta Traba and Octavio Paz.
232
233
MACEDONIO DE LA
TORRE
EL ORIGEN DE LAS
CATEDRALES
ca.
234
RICARDO GRAU
COMPOSICIN
1960
Corresponde a la obra de Jorge Eduardo Eielson (1924 2006) un desplazamiento al interior del credo moderno, que lo une a espritus como el de
Csar Moro o Jos Mara Eguren, en la tradicin de la cultura peruana que
junta artes visuales y poesa. De hecho, el aliento potico asoma en su Paisaje infinito de la costa del Per, obra que abstrae la lnea de horizonte que
separa el mar de la arena de la playa al intervenir, literal y materialmente
sobre dicho borde, con un material de tela que, por testimonio, se sabe que
era parte de su propia vestimenta. Eielson viaj a Europa en 1948 y solo
regresara en tres oportunidades al Per, para exhibir y visitar a sus amigos:
en 1967, 1977 y 1987. El exilio del poeta cuya subjetividad, al fin y al cabo,
vive en el lenguaje fusiona sus experiencias en el mar Mediterrneo con su
memoria del paisaje de la costa del Per. La infinitud alude a un proceso de
recuperacin de lo que Marcel Proust habra asumido como memoria involuntaria, adherida al gusto o al tacto de objetos cotidianos acaso olvidados
por los imperativos de la vida moderna. La serie inicia en 1957 y se abre a
travs de toda la vida del poeta como sustancia existencial y lingstica, pero
tambin como el eterno retorno de un paisaje imaginario que instala el
tpico en la pintura peruana contempornea.
With the work of Jorge Eduardo Eielson (1924 2006) there is a movement
towards the interior of the modernist creed uniting him with the spirit of
Csar Moro or Jos Mara Eguren through the artists engagement with
the tradition of Peruvian culture that joins together visual arts and poetry.
The direct inspiration of poetry can be appreciated in his Paesaggio infinito
della costa del Per a work that abstracts the horizontal lines that separate
the sea from the sand on the beach by intervening (literally and materially)
on top of the actual border with a material that, according to the commentary, formed part of his everyday clothes. Eielson travelled to Europe in 1948
and would only return on three occasions to Peru in order to exhibit and visit
friends (in 1967, 1977 and 1987). The exiled poet whose subjectivity is
expressed above all through language fuses together his experiences in
the Mediterranean with a memory of the landscape of the Peruvian coast.
The infinitude alludes to a process of recuperation that Marcel Oroust would
call involuntary memory: a process of surrendering to the taste and touch
of daily objects that may have been forgotten by the constraints and
requirements of modern life. The series Paisaje infinito de la costa del Per
[Infinite Landscape on the Coast of Peru] was initiated in 1957 and became
an existential and linguistic concern throughout the life of the poet. It was
also a means of eternally returning to an imaginary landscape that ultimately served to introduce this subject matter to Peruvian contemporary
painting.
236
237
JORGE EDUARDO
EIELSON
PAISAJE INFINITO DE LA
COSTA DEL PER
1961
Alberto Dvila comenz a abandonar la figuracin a partir de 1959, al ingresar brevemente en una pintura de corte abstracto que se apoyaba todava
en mdulos geomtricos, derivados de la afinidad inicial del artista con el
postcubismo. En Chancay, dicha concepcin empieza ya a diluirse en un
entramado de formas ms o menos esquemticas que desarrollan una variacin de grises, al tiempo que su caligrafa pictrica evoca signos misteriosos
y primitivos. El nombre de la obra alude adems a una civilizacin prehispnica costea, y en ese sentido se relaciona con la tendencia ancestralista
abstracta que empezaba a definirse en la escena local; de hecho, Dvila fue
uno de los primeros en otorgar ttulos de ese tipo a sus composiciones.
Luego de viajar a Mxico en 1960, y especialmente a Estados Unidos en
1962, la obra del artista fue influida decisivamente por el expresionismo
abstracto norteamericano y, en particular, por Franz Kline y la action painting, que marcara su principal lnea de trabajo en los aos siguientes.
238
239
ALBERTO DVILA
CHANCAY
1961
A comienzos de la dcada de 1960, el informalismo se convirti en un horizonte visual, promovido desde el Instituto de Arte Contemporneo (IAC), en
el que los nuevos artistas instalaron las inquietudes de sus proyectos individuales. Uno de ellos fue Venancio Shinki, medalla de oro de su promocin en
la Escuela Nacional de Bellas Artes en 1962. En Pukutay, pintada aquel
mismo ao, las referencias figurativas han desaparecido por completo y el
color resulta ser el protagonista de un movimiento interno a la composicin.
Sin embargo, el ttulo en quechua que se traduce como nube- alude a un
punto de referencia figurativo que parece sugerirse en las variaciones de
color y el ritmo del movimiento que va de izquierda a derecha. Con obras
como esta, Shinki se afiliaba adems a la bsqueda de un anclaje local por
ejemplo, algn vnculo con las culturas antiguas del mundo andino para las
formas no figurativas. Tiempo despus, el pintor busc en la cultura japonesa de sus ancestros una va de retorno hacia elementos figurativos que
denotaran una identidad especfica.
240
241
VENANCIO SHINKI
PUKUTAY
1962
The contribution of Juan Manuel de la Colina to the local abstract art movement is an under-studied aspect of Peruvian art history. Perhaps this is due
to the fact that the artist was only in the country between 1942 and 1954,
when he left to settle definitively in Paris. The son of Peruvian diplomats, he
studied painting at the Melbourne Art Gallery (Australia) and later took further classes at the Royal Academy in London. His work as a teacher at the
National School of Fine Arts, between 1944 and 1954, makes him especially
important for evaluating how the local culture assimilated European modernist models. Throughout the 1960s, de la Colina returned various times to
exhibit in Lima. In 1963 he exhibited La geisha - a painting depicting evanescent forms bearing traces that point towards a suggestive liquid materiality.
The canvas does not necessarily impose a clearly represented illusory space
with its dashes of color. Rather the markings introduce to the eye of the
spectator various forms that have the effect of producing a strange conviction of perceiving some kind of presence. Here the artist offers an insular
formal proposition in a context dominated by the abstraction of ancestral
references. His work is thus best read through the guidelines of informalism,
of which this is the key principle and can be seen in the loose nature of the
markings as well as the visual suggestion of a fluid presence.
242
243
JUAN MANUEL DE LA
COLINA
(BARCELONA, 1917)
LA GEISHA
1963
From the beginning of the 1960s, circular forms would gain a prominent
place in the work of Szyszlo. In this symbolism, shared by various primitive
cultures, he evoked in his own terms the artistic attitudes of Tpac Amaru or
(as in this case) the Puke Wamani, an important Andean deity, echoing the
growing anthropological interest in these subjects and their contemporary
resonances. Works such as this one embody what the Columbian critic Marta
Traba would call an art of resistance, understood as a rejection of the
artistic adoption of the cosmopolitan avant-gardes and, at the same time, an
overcoming of the mere quoting of indigenist anecdotes. The title of the
work intends to locate the spectator in a determined cultural context while
at the same time leaving open a reading of the work. Thus there is no literal
quoting of the pre-Hispanic repertoire, but rather formal analogies that refer
to these civilizations that the artist considered latent or suppressed among
the underlying layers of Latin American identity. In fact, the choice of a magical subject matter seems to encourage the rejuvenation of the subject in
correlation to the use of a modern pictorial language. The background
accentuates the dream-like atmosphere of the work and the symbols appear
to emerge straight from an ahistorical space. This sensation of depth
reflects the painters attraction to representing spaces something that he
would further develop at the beginning of the following decade.
244
245
FERNANDO DE SZYSZLO
(LIMA, 1925)
PUKA WAMANI
1968
Although always having focused on the chromatic gestural quality of painting, the work of Sabina Springett went through various abstract periods
between 1959 and 1967. It was during her initial involvement with French
non-figurative art that she experimented with still life and pre-Columbian
aesthetics and patterns. Contraluz [Backlight], however, corresponds to a
previous moment in which Springett adapts a North American abstract
expressionist aesthetic to her own imperatives. The composition of the work
proposes a bold and unstable balance in four strong areas of color. The Instituto de Arte Contemporneo (IAC) offered her a solo exhibition the same
year that these works were produced. In the preface to the exhibition catalogue the critic Juan Acha associated this moment in the artists painting
career with the work of Willem de Kooning. However, even from the outset
the series was celebrated as a victory for Peruvian art because of its resonances with modernity. It marked a turning point with respect to everything
that came before it: the triumph of color in painting over any other tendency
for representation.
246
247
SABINO SPRINGETT
CONTRALUZ
1962
In 1961, one year after graduating from Escuela Nacional de Bellas Artes,
painter Arturo Kubotta was granted a Fullbright scholarships, which lead him
to follow a post graduate degree in the USA. As a student at the School of
the Art Institute of Chicago, he reaffirmed his tendency towards informalism,
which took him to represent Peru at the VI Sao Paulo Bienal. Homenaje,
noviembre 22 was painted precisely in North America and commemorates
the assassination of President John. F. Kennedy, that took place in Dallas on
that date. Clearly, the composition does not refer in a literal way to the
event, but tries to generate a tense and ominous atmosphere. This composition is dominated by variations of green; suddenly the color red emerges
leaving a sequel of earth tones and a dash of light. After graduating with
honors in 1964, Kubotta returned briefly to Peru, later settling down in
Brazil, although he has occasionally exhibited his work in Lima. Unlike other
local artists, his informalist painting would look for references no precisely in
the ancient Andean cultures but in his own Japanese background.
248
249
ARTURO KUBOTTA
HOMENAJE,
NOVIEMBRE 22
1964
Hungarian by birth, the painter and sculptor Lajos DEbneth arrived in Peru
in 1949. He had studied in Budapest, Munich and La Haya before becoming
involved with the Bauhaus in 1926, where he reaffirmed his initial interest in
constructivism. The Second World War drove him to the United States,
where he picked up an expressionist figurative style that he would eventually
bring to Peru. Towards the end of the 1950s, however, DEbneth became
affiliated with abstraction a language that allowed him to develop his interest in the spiritual. He repeatedly sought out the gestural in his use of color
or visual forms that, reduced to their minimal elements, could aptly communicate these concerns with the spiritual. In this work the dominant red color,
treated as a pure color without texture, is juxtaposed with various black
markings. Towards the right and the top a kind of red lattice made from
small circular forms can be observed. In the middle there is an ochre form
that seems to come out towards the viewer and on the left of this form there
is a white area whose texture recalls a kind of chalky material. This is one of
the most interesting visual resources of informalism: the tension between
the flat appearance of paint and the production of other kinds of textures or
matter.
250
251
LAJOS DEBNETH
SIN TTULO
ca. 1966
SURREALISMOS Y RETORNO A
LA FIGURACIN
252
Towards the end of the 1960s, the experiments of the avant-garde had dis-
dia tras el golpe militar de Juan Velasco Alvarado traera consigo un reor-
painting. This was also due to the fact that certain practices were main-
tained in the field of the graphic arts. The solidity of the graphic arts profes-
pintura que volva con fuerza a los lenguajes figurativos. En ese contexto, el
sions thus assumed a prominent role within the practice of painting, which
had rapidly and harshly returned to figurative visual languages. In this con-
group of artists educated by the Parisian scene of the previous decade and
a few of them had returned to the country after reaching a certain level of
and Tilsa Tsuchiya joined together with Humberto Aquino, Venancio Shinki
and Leoncio Villanueva, among others. Although they each had defined and
Latina.
in their paintings and the emphasis they placed on technical perfection situated them on a horizon without parallel in other countries in Latin America.
Tilsa Tsuchiya es una figura emblemtica dentro del slido conjunto de pintores surrealistas que dominaron la escena local en los aos setenta.
Alumna sobresaliente de Ricardo Grau y Carlos Quzpez Asn en la Escuela
Nacional de Bellas Artes, obtuvo el Gran Premio de Honor de su promocin
en 1959. Por entonces practicaba una figuracin geometrizante de carcter
formalista, inspirada por el ejemplo de sus primeros maestros. Con frecuencia le servan de pretexto pictrico las figuras de vendedoras que observaba
en los alrededores del Barrio Chino donde viva. En 1960 viaj becada a Pars
para seguir inicialmente cursos de postgrado en la cole de Beaux Arts.
Prolongada por siete aos, esa estancia determinara un vuelco significativo
en su trabajo. A partir de entonces comenzar a aplicar veladuras sucesivas
por medio de pinceladas cortas para crear las atmsferas brumosas que se
convertir en caractersticas de su estilo de madurez. Obras como Los viajantes sealan el ingreso de Tilsa a una temtica que se inspira en el pensamiento mtico y propone inicialmente personajes anfibios, impregnados de
connotaciones sexuales, que se desplazan en medio de ambientes acuosos.
Se prefigura as el ciclo culminante de los Mitos, realizado en la dcada
siguiente, que signific un momento consagratorio para su carrera.
Sn ttulo
1960
leo sobre tela
81 x 65 cm.
Museo de Arte de Lima.
Donacin Manuel Checa Solari
V-2.0-1165
254
255
TILSA TSUCHIYA
(SUPE, 1929 - LIMA, 1984)
Bodegn
1959
leo sobre tela
64 x 54 cm.
Museo de Arte de Lima.
Donacin de la autora
V-2.0-1165
256
Los viajantes 2
1969
leo sobre tela
56 x 92 cm.
Museo de Arte de Lima. Donacin Rafael Lemor en memoria de Malvina de
Lemor
1994.2.25
Like many fellow students at the National School of Fine Art, the painter
Gerardo Chvez transitioned throughout his education from a modernist
figurative and representational style towards abstraction. In 1960, a year
after finishing his studies, Chvez left for Europe in the company of Alfredo
Gonzlez Basurco and Tilsa Tsuchiya, partaking in a journey that would be
decisive for the development of his personal style. In 1961 he met the surrealist Chilean painter Roberto Matta, who would not only influence his work
but would also work to promote it across the international art world.
Chvezs mature art practice was consecrated in Peru where he was
awarded an acquisition prize at the Primer Festival de Arte Americano,
which took place in Lima in 1966 under the auspices of the Institutio de Arte
Contemporneo. The prize was awarded for the work La otra cara de la
noche [The Other Face of the Night], whose very title is a testament to the
decidedly dream-like quality that his work had assumed. Although still visibly
influenced by Mattas style, the composition reveals elements that would
later be characteristic of the solo work of Chvez, such as the organic forms
and the wheels interacting dynamically in space.
258
259
GERARDO CHVEZ
(TRUJILLO, 1937)
LA OTRA CARA
DE LA NOCHE
1964
260
261
VCTOR HUMAREDA
PROCESIN SERRANA
1963
A lo largo de su carrera, el pintor norteamericano David Herskovitz ha mantenido una fidelidad constante a la figuracin expresionista. Instalado en
Nueva York en la dcada de 1950, asistira ah al triunfo de la no figuracin
sin que ello incidiera de forma decisiva en su labor. A su llegada a Lima en
1960, proseguira una obra insular en un medio tambin dominado por la
abstraccin, enfocndose inicialmente en temas locales. Poco despus, su
pintura se har eco de un intenso sentimiento religioso, expresado a travs
de representaciones de la historia sagrada as como de alusiones al rito
catlico. De esta poca data la serie de sacerdotes, de la cual forma parte
esta obra. El lienzo presenta a un cura en el acto de mostrar a los fieles el
pan y el vino, convertidos en el cuerpo y la sangre de Cristo. Herskovitz
remarca aqu el papel del sacerdote como intermediario entre la divinidad y
los hombres por medio de grandes manchas que otorgan a la figura un aire
sobrenatural. Luego del retorno a la figuracin en los aos setenta, el papel
del artista en la escena local se vera potenciado en la dcada siguiente al
coincidir con el surgimiento de una veta neoexpresionista asociada al clima
de violencia poltica que viva el pas.
262
263
DAVID HERSKOVITZ
SACERDOTE EN VERDE
1965
From the end of the 1960s, the elements evocative of a mythical pre-Columbian past began to be defined in a more obvious ways in the painting of Fernando de Szyszlo. Similarly the painter began to experiment with spatial
representation, in line with the general return to figurative art within the
field of Peruvian fine arts. Juxtaposed with a background depicting a
deserted landscape, its totemic forms seem to impose a physical presence
that produces a surrealist atmosphere. Similar to painters such as Tilsa
Tsuchiya or Gerardo Chvez, Szyszlo reaffirmed in this way his commitment
to the modernist canonbased above all on the dominion of technique and
the respect for genre an attitude that would continue to define his work
throughout the following years. In this painting, the artist places in the foreground a kind of altar that evokes the ritualistic paraphernalia characteristic
of the magical-religious cultures. The flatness of the forms contrasts with
the arbitrary use of perspective and the objects lying on the table, whose
luminosity seems to allude to a transcendent dimension, produces an added
element of the mysterious.
264
265
FERNANDO DE SZYSZLO
(LIMA, 1925)
MESA RITUAL
1985
A member of the generation of the 1950s, the painter Siegfried Laske began
his career in a medium marked by the debates surrounding abstract art. His
passage through the National School of Fine Arts, directed by Ricardo Grau
between 1947 and 1949, would identify him with a modernist figurative ideal.
He had his first solo exhibition in 1955, which would confirm him as one of
the most talented young artists of the moment. A year later Laske moved to
Paris where his work moved toward abstraction. Towards the end of the
1960s he began to crack the surface of his works by applying special varnishes and drying agents to the material before beginning the process of
painting. However, it was not until the 1970s that this technique achieved a
more personal definition demonstrated in a series of landscapes, to which
this canvas belongs. The work suggests a succession of different strata that
alternate between geological forms and flows of water. The surface of the
painting is crisscrossed by cracks whose tapestry-like forms appears to make
a kind of complex grid design, which in turn generates a certain vibrating
optical illusion. More than searching for a realistic effect, the image actually
highlights the superficial elements of the material and explores in this way
the limits between abstract and figurative representation typical of the
insular formalism explored by Peruvian painters during the 1970s.
266
Siegfried Laske
267
SIEGFRIED LASKE
XXXXXXXX
xxxxxxxx
268
269
CRISTINA GLVEZ
Bronce fundido
212 x 31 x 67 cm.
Museo de Arte de Lima.
Donacin Rafael Lemor en memoria
de Malvina de Lemor
V-2.1-0098
(LIMA, 1919-1982)
CREN
1974
270
271
ALBERTO GUZMN
Bronce fundido
28.5 x 13 x 10 cm.
Museo de Arte de Lima.
Donacin Rafael Lemor
1994.2.29
(TALARA, 1927)
SIN TTULO
1975
CORTAR ESO
270
The shift from the modern to the contemporary in Peruvian art is a compli-
ceso complejo. Aunque mucho arte reciente y no tan reciente (como el reco-
cated process. Although much recent art (such as the examples highlighted
sidered within the logic of the latter category, the local artistic appara-
cias con una lgica modernista. Tras los perodos de inestabilidad poltica y
Despite the periods of political and economic instability in Peru, the country
mercial and international trade something that had an effect on the local
art market and acted as a catalyst for various changes and innovations.
The tension between a modernist status quo and the more recent search for
mainly in the eighties and nineties, which speak to this transitional moment.
These transitional works have paved the way of experimentation and have
and downs driven by the actual spaces of production (and not only by insti-
local artists who have extended these interests and questions and are currently reconfiguring the artistic scene in Peru.
272
BILL CARO
(AREQUIPA, 1949)
SIN TTULO
1971
En la obra Refugio de los Andes 12, Emilio Rodrguez Larran alude al pasado
milenario del Per a travs de la idea de construccin histrica. Esta
puede ser entendida como narrativa fundacional o mito de orgenes (un
texto manuscrito alude a columnas tutelares de las tribus originales), o
como resto arqueolgico de una edificacin precolombina.
La clara orientacin hacia lo contemporneo de esta pieza radica en la
manera en que articula diversos referentes que se encuentran condensados
en la misma serie de elementos. As por ejemplo, la imagen aparece como
figurativa, especialmente si prestamos atencin a la representacin de la
topografa que hace el artista. Pero el conjunto de cuadrados y gruesas
lneas rectas distribuidas por la superficie del cuadro recuerdan las formas
ms severas de la abstraccin. Incluso, en la repeticin de los cuadrados
pueden ser descubiertas ciertas evocaciones minimalistas. Al mismo tiempo,
esas formas sirven para poner en juego la idea de un plano arquitectnico.
Este puede ser ledo en relacin con la arquitectura precolombina o como un
proyecto artstico situado en el campo expandido de la escultura, denominacin que se dio a las exploraciones de los aos setenta que integraban
escultura y lugar.
De hecho, cual reedicin en clave Land Art de los tambos incaicos, estos
refugios estaban diseados para guarecer a las comunidades andinas en
caso de incursiones terroristas y deban ser construidos por los pobladores
con tcnicas tradicionales. Ello no se llev a cabo, si bien posteriormente
uno de los refugios fue edificado con una intencin artstica frente al Museo
de Arte de Lima.
In the work Refugio de los Andes 12 [Shelter of the Andes 12] Emilio Rodrguez Larran alludes to Perus ancient past through a notion of historical
construction. This can be understood as a foundational narrative or origin
myth (a text that alludes to the vertical columned writing of the original
tribes) or as the archeological remains of a pre-Colombian building.
The contemporary in this work lies in the way in which the artist clearly
articulates diverse referents, all of which can be found condensed in the
same series of elements. The image thus appears figurative, especially if we
pay attention to the artists representation of topography. The combination
of squares and thick lines distributed throughout the surface of the painting
also recalls the most severe forms of abstraction. This is even the case in the
repetition of squares, where certain minimalist characteristics can be deciphered. These forms also function to propose an idea of an architectural
plane, which could be read in relation to pre-Columbian architecture or alternatively as an artistic project situated in the expanded field of sculpture (a
label given to the experiments with sculpture and space of the 1970s).
In fact, whatever use of the term Land Art there may have been in reference to the Incan structures, these shelters were originally designed to provide shelter to the Andean communities in the case of terrorist incursion
and they were to be built with traditional techniques by the local populations. This was never carried out, although later one of the shelters was
constructed in front of the Lima Museum of Art.
274
275
EMILIO RODRGUEZ
LARRAN
(LIMA, 1927)
1985
Hernn Pazos can be situated between forms of modernity and a more contemporary understanding of the artistic image. The careful attention he paid
to the formal possibilities of the medium of painting borrowed much from
the pictorial tradition of modernism, yet his explorations into the possibilities of visual construction are fundamentally contemporary in nature.
This work is an example of the way in which Pazos prefigured contemporary
Peruvian painting by constructing the image in terms of a confrontation
between references to the history of art and twentieth century visual culture. The diverse elements that the artist incorporates are overlapped and
fused, in such a manner that they often cover or burry each other always
relating to each other in tension. Pazos superimposes here different squares
and areas of color that draw together abstract and geometric figures. Here
he shows different ways of dealing with the surface (through drawing, calligraphy, painting, gestural and representative painting). The layers are combined following their diverse levels of transparency or opacity, such that
painting here is employed as an alternative means of producing a collage.
The image as a combination of references and differentiated levels susceptible to infinite manipulations is a characteristic feature of contemporary
visual arts discourse informed especially by painting and photography.
276
277
HERNN PAZOS
(LIMA, 1951)
SIN TTULO
1980
The work of Ramiro Llona takes much from the modernist pictorial tradition.
The artist explored the possibilities of abstraction, especially the methods
inherited from an expressionist vision. If this artistic journey was made via
the neo-expressionist movement of the 1980s, the very idea of return and
revision is steeped in the post- logic that would give way to contemporaneity.
Another significant point is that Llona was more drawn to the developments
and possibilities of the Californian abstract art movement of the 1960s (Bay
Area Abstraction) than he was to the European informalism that had prevailed in Peruvian non-figurative art.
In this work it is possible to observe clearly how the artist combines his
interest in abstraction and painting as a medium with other more thematic
concerns relating to the idea of structure, expressed through the portrayal
of the basic contours and designs of a house. This interest in the idea of a
construction, thematized by the legible details of the pictorial construction,
can also be seen in the formal choices made by the artist: there is an array
of techniques that go from lineal drawing, geometry (or large areas of color)
and design (the sketchy tracing of a house), to diverse ways of dealing with
the surface that range from the almost flat application of color, the creation
of an illusion of depth (whose shading appears in the supposed shadows
behind the black structure) and finally a gestural or expressive way of working with the surface. In this sense the work refers to itself (and by extension
to the medium of painting) as a complex construction.
278
279
RAMIRO LLONA
(LIMA, 1947)
SIN TTULO
1986
In the sculpture Farallones [Cliffs] Sonia Prager presents a series of processes of natural and cultural creation. It is a work reflective of a trajectory
that sustained a dynamic interest in both. The title (referring to those jutting
out rocks known as cliffs whose shape is the product of erosion caused by
the sea) reflects her proposal that erosion is a natural form of sculpting.
However, in so far as the work is a sculpture, it also presupposes an evident
intervention on the part of the artist in transforming the material.
Through its formal features, the piece evokes associations with the history
of Peru and its archeological past and puts them in dialogue with modern
and contemporary artistic discourses. The knots between the three rocks
that hold it together thus recall the sophisticated link fittings that characterize Incan buildings. The geometrical shapes apparently barely carved also
implicate the use of an abstract language of great simplicity. Here, art historical references emerge from a range of traditions in modern sculpture
touching on minimalism or even Land Art (the latter however is expressed
more as an echo than a methodological model). Sonia Prager thus brings
together various different temporalities combining a geological and historical past with a cultural present and proposing them all as forces and processes in dialogue.
280
281
SONIA PRAGER
(PER, 1950)
FARALLONES
1997
282
ARMANDO WILLIAMS
(PER, 1956)
FARDOS
1983
283
284
285
MOICO YAKER
NGEL DORMIDO
1990
Las exploraciones de Jos Tola en los aos ochenta y noventa han tendido
un puente entre la tradicin de la pintura expresionista moderna y una prctica del ensamblaje que desafiaba el marco disciplinar del medio, anunciando
en cierto modo el giro hacia lo contemporneo.
En la serie Los eunucos de la guerra, con la que Tola represent al Per en la
XX Bienal de Sao Paulo (1989), las formas pictricas, los distintos patrones
abstractos y las figuras representadas aparecen co-articulados con la irregular forma fsica del soporte, el cual ha sido recortado. Estos rasgos potencian
los significados que la obra desliza, los que pueden ser vinculados a la
coyuntura nacional de la poca y a la as llamada guerra interna. De esta
forma, el soporte cobra importancia y deja de ser una mera superficie a ser
cubierta por la pintura.
En esta pieza se puede notar que la estrategia de recortar las superficies
permite al artista trascender los lmites tradicionales del formato rectangular/lienzo. Pero no solo se trata de emplear una forma novedosa como
soporte para la pintura. En los vacos que incluye, en las curvas y agujeros,
Jos Tola abre un posible dilogo con el espacio de presentacin (la pared
sobre la que se coloca la obra), algo que la tradicin moderna ms bien
haba puesto entre parntesis.
The explorations of Jos Tola in the 1980s and nineties have functioned as a
kind of bridge between the modern expressionist painting tradition and a
practice of assemblage that challenges the disciplinary borders of the
medium of painting thus revealing a significant shift towards the contemporary.
In the series Los eununcos de la guerra [The Eunuchs of War], with which
Tola represented Peru at the twentieth Biennale of Sao Paulo (1989), pictorial forms (the different patterns and represented figures) appear to be
articulated along with the irregular physical form of their constructions,
which have clearly been manipulated. These features maximize the meaning
of the work, which can be linked with the historical period of the nation and
the so-called internal war. The medium thus becomes important in itself
and no longer a mere surface to be covered with paint. In this work it is possible to observe how the strategy of mixing mediums allows the artist to
transcend the traditional boundaries of the canvas. However, this is not
simply about developing a new form of painting. In the empty space included
within the painting (the curves and holes) Jos Tola opens a possible dialogue with the space of presentation (the wall on which the work is hung),
something that the modernist tradition had always put in parenthesis.
286
JOS TOLA
(LIMA, 1943)
LOS EUNUCOS DE LA
GUERRA XII
1989
288
289
ROCO RODRIGO
(LIMA, 1943)
ALEJANDRA
1994
EL MODERNISMO FOTOGRFICO
PHOTOGRAPHIC MODERNISM
290
The work of Riva and the members of the group he was affiliated with
focused specifically on coastal landscapes a subject matter that had barely
been addressed in Peruvian art practices during the first third of the twentieth century. At the time, photography had not yet been established as an
autonomous art form and photography was associated more with the commercial studios. However, the technical simplicity of the practice afforded its
dissemination among the middle classes. That is how Riva a merchant and
businessman and other enthusiasts organized trips and meetings in which
they took photographs of landscapes and employed certain modernist methods. This impulse crystalized with the Saln de la Foto (1936-1942), an exhibition space and social hang out that relied on the support and presence of
various intellectuals, amoung them Jos Sabogal. Because of its coastal
subject matter, Huacachina is distinct from the landscape paintings of the
indigenous community as well as the South Andean photography tradition
that predates it. However, the dramatic effect of its composition is indebt to
previously existing pictorial modes of representation, especially when taking
into account the formal negotiation that the photographic image had to
make in order to be considered as art.
292
293
KUROKI RIVA
(LIMA, 1905-2001)
HUACACHINA
1938
In the work of Casals, the representation of pre-Colombian architecture created a meeting point between his documentary images and his interest in
pure form. When he arrived in Chile in 1957, he was a commercial photographer but even then he showed a particular sensibility for landscapes and
architecture. His work was recognized early in artistic spaces such as the
Salones de Arte Grfico Aplicado del Instituto de Arte Contemporneo
[Exhibition hall of Graphic Arts of the Institute of Contemporary Art] and
he was the first photographer to be given a solo exhibition at the Lima Art
Museum in 1963. This exhibition contributed to the next generations exploration of the possibility for photography to be conceived of as an autonomous art form, while critics such as Juan Acha continued to refer to pictorial connections in order to explain his work. Made during the eighties,
Puruchuco crystalizes an abstract sensibility in dialogue with images of the
abandoned pre-Columbian ruins of contemporary painters such as Fernando
de Szyszlo or Esther Vainstein. The book that was presented as part of this
series included texts by the poet and avant-garde artist Jorge Eduardo Eielson.
294
295
JOS CASALS
Sin ttulo
Impresin en gelatina de plata sobre
papel
50 x 40 cm.
Museo de Arte de Lima.
Donacin Jacqueline Le Gentil
1997.34.4
PURUCHUCO
ca. 1980
The broad development and employment of the portrait form in the sixties
was related to the role of photography as a predominantly documentary
medium. Baldomero Pestana, as much as Jose Casals, dedicated a large part
of his practice to cultivating the genre and his cosmopolitan roots opened
the door to the local arts scene. Educated in Argentina, Pestana had already
garnered enough recognition to be exhibited in the Lima Art Museum. Part
of his strategy for achieving this prestige stemmed from his project of systematically photographing the important figures of Peruvian cultural life
throughout the decade. The formal refinement and sleek appearance of his
portraits can be seen as an echo of the modernist impulse he felt an affinity
with. However, his portraits privilege the aims of capturing the personality of
his subjects over and above the creation of a direct language of expression
or particular sensibility, thus suggesting that photography did not in fact
become consolidated as an autonomous aesthetic art form until the following decade when Pestana had already left Lima.
296
297
BALDOMERO PESTANA
(LUGO, 1918)
XXXXXXX
xxxx
298
299
Fernando de Szyszlo
1960
Impresin en gelatina de plata sobre
papel
29,5 x 39,5 cm.
Museo de Arte de Lima.
Donacin del autor
300
FERNANDO LA ROSA
(AREQUIPA, 1943)
PARED-VENTANA
1977
302
303
BILLY HARE
(LIMA, 1946)
PROVIDENCE,
RHODE ISLAND
1978
In her series Chorillos (1978), Mariella Agois captures the spaces and visitors
of this Limean spa with a Diana camera a plastic piece of equipment used
by enthusiasts and amateurs. The portrait of Fernando La Rosa (who was
her professor and the most influential promoter of photographic modernism) should be highlighted within this series in order to offer an image of a
recognizable person with their own name. La Rosa had been the main backbone of the Secuencia Foto Galera, whose management changed hands to
Agois in 1978. One of the most important campaigns of the Secuencia was
the consolidation of the medium as an autonomous art form, neither inferior
nor indebt to painting. In this context, the portrait of La Rosa was conceived
of as a homage and an affirmation of the role of the photographer as an
artist and not only as a figure who captures reality. The image of La Rosa,
seen through a cast light from behind, emphasizes the natural subjectivity of
the photographic medium.
304
305
MARIELLA AGOIS
Fernando La Rosa
Impresin digital sobre papel
61 x 51 cm.
Museo de Arte de Lima.
Donacin Bernhard Lotterer
2010.8.22
(LIMA, 1956)
CHORRILLOS
1978-1980
Si bien desde 1975 Zuzunaga trabaj principalmente en Barcelona, su periodo formativo en Lima haba definido en l un marcado inters por la representacin de espacios urbanos. A partir de entonces desarroll una depurada sensibilidad modernista, afn a la que surgi en torno a Secuencia Foto
Galera, donde expuso en 1977. En esta serie tarda, el artista elabora una
visin casi abstracta de la arquitectura modernista, cuyas formas se ven
reducidas a juegos de luces y sombras. Las obras recogen ecos del trabajo
de Ray Metzker, fotgrafo norteamericano tambin interesado en la representacin de la ciudad. Como en la obra de Metzker, la presencia de vacos
por ejemplo, de los espacios entre los edificios apunta hacia una potica
de la ciudad moderna y del aislamiento propio de esta. La arquitectura
urbana pierde as su apariencia reconocible, y se erige en alegora de una
experiencia alienada.
Although in 1975 Zuzunaga began working mainly in Barcelona, his formative period in Lima had left a mark in terms of his interest in the representation of urban spaces. From then on, he developed a purified modernist sensibility, similar to what emerged around the Secuencia Foto Galera, where he
exhibited in 1977. In this later series, the artist developed an almost abstract
vision of modernist architecture whose forms are seen reduced to games of
light and shadow. The works reveal echoes of the work of Ray Metzker, North
American photographer also interested in the representation of the city.
Just as in the work of Metzker, the presence of empty space, for example the
space inside buildings, points towards a poetics of the modern city and an
expression of its isolation: urban architecture looses its recognizable appearance and becomes an allegory for the experience of alienation.
#2
1997
Impresin en gelatina de plata sobre
papel
40.5 x 30.5 cm.
Museo de Arte de Lima.
Donacin del autor
1997.17.7
306
MARIANO ZUZUNAGA
(LIMA, 1953)
#3
1997
Impresin en gelatina de plata sobre
papel
40.5 x 30.5 cm.
Museo de Arte de Lima.
Donacin del autor
1997.17.8
307
308
309
FERNANDO CASTRO
(PER, 1952)
LA VIDA EN EL
DESIERTO COSTEO
1990
Las Banderolas presenta espacios y situaciones de diferentes puertos peruanos capturados a partir de cmaras defectuosas o de pobre calidad, un gesto
que se volvera constante en la produccin de Jorge Heredia. Aunque la
serie guarda un sentido documental, propone al mismo tiempo una esttica
povera de cuo modernista a partir del reducido foco de sus cmaras,
recurso que desenfoca y distorsiona las imgenes. Este nfasis en la subjetividad de la mirada fotogrfica haba estado tambin presente en la serie
Chorrillos (1978) de Mariella Agois, quien diriga Foto Galera Secuencia
cuando Heredia expuso ah en 1980. Sin embargo, Las Banderolas responden al distinto contexto de los noventa. Para entonces, el medio intelectual y
artstico haba volcado la mirada hacia nuevos espacios y escenas, como
resultado de la emergencia y nueva centralidad de los sectores populares en
la esfera social y cultural peruana.
Huanchaco
Impresin en gelatina de plata sobre
papel
50 x 50 cm.
Museo de Arte de Lima.
Donacin del autor
1997.5.11.5
310
JORGE HEREDIA
(LIMA, 1958)
LAS BANDEROLAS
1992
Puerto Pizarro
Impresin en gelatina de plata sobre
papel
50 x 50 cm.
Museo de Arte de Lima.
Donacin del autor
1997.5.11.21
311
Even in his early work, Fantozzi demonstrated a keen interest in the popular
and regional sectors of society, which stemmed from his professional work
as a photographer for societal magazines. Along these lines Abancay (1979)
reveals his proximity to the tradition of Andean photography. Although the
subject matter is characteristically modernist, here he derives a gaze that is
closer to the popular photographer in conflict with the role that Fantozzi
himself identifies with. Ocongate (1988) also proposes a modernist approach
to the local and is configured in this case with a soft focus, which encapsulates the image in a dream-like atmosphere. Chilca (1991) equally produces a
strange light in which the presence of the photographer is projected in the
foreground like a shadow in the sand. Across these examples, the methods
of modernism are a filter through which to construct images, but the focus
of attention continues to approach popular reality. Like many professionals
of his generation, Fantozzi participated in the Secuencia Foto Galera, where
he exhibited in 1978, as well as assisting Aaron Siskind for a brief period.
312
313
ROBERTO FANTOZZI
(LIMA, 1953)
Abancay
1979
Impresin en gelatina de plata sobre
papel
40 x 50 cm.
Museo de Arte de Lima.
Donacin del autor
Chilca
1991
Impresin en gelatina de plata sobre
papel
47 x 40,5 cm.
Museo de Arte de Lima.
Donacin del autor
314
Ocongate
1988
Impresin en gelatina de plata sobre
papel
50,5 x 40,5 cm.
Museo de Arte de Lima.
Donacin del autor
315
Javier Silva knew well and greatly valued the work of Martn Chambi more
than any other photographer affiliated with the Secuencia Foto Galera
(where he held his first solo show in 1978), and he used him as a reference
point. However, his traditionalist and anthropological work was linked above
all to the new tendency of Limean intellectuals to approach the Andean
during the years of political violence. For the social sciences the Andean
festivals and parties were perceived as cohesive spaces that were absent in
the cities. The idealizing tone and the magic of these images was obtained
through modernist techniques, such as long exposure or full-flash mode.
Ultimately Silva opted for staging in his supporting studio of regional types.
The use of white curtains in the background evoke the portrait work of the
North American photographers such as Irving Penn or Richard Avedon. Yet,
at the same time his work cites the South Andean photographers of the
past, such as Juan Figueroa Aznar, as well as points towards the theatrical
and ritualistic character of both the photographer and the religious festivals.
Sin Ttulo
Impresin en gelatina de plata sobre
papel
51 x 41 cm.
Museo de Arte de Lima.
Donacin del autor
1997.15.14
316
317
Sin Ttulo
Impresin en gelatina de plata sobre
papel
51 x 41 cm.
Museo de Arte de Lima.
Donacin del autor
1997.15.14
(LIMA, 1949)
LOS ENCANTADOS
1987
318
319
REGISTROS DE LA REALIDAD
RECORDS OF REALITY
320
Durante las primeras dcadas del siglo, los estudios del sur del Per consti-
During the first decades of the twentieth century, the studios of southern
cin estuvo dominada por el retrato y el registro del entorno con fines do-
the work was ultimately dominated by the portrait form and the practice of
the case of Cuzco, those models prevailed until the political and socioeco-
outlook. On the one hand the new centralism placed Lima at the center of
cultural life, at the same time that it propelled waves of migration to the
recording the new realities of the country in the years before television.
testimonio y denuncia del periodismo grfico para mostrar, entre otros te-
nounce in order to show, amoung other things, the disarticulation and cha-
terno iniciado por los grupos terroristas en los ochenta. Por otro lado, los
groups in the eighties. On the other hand the Talleres Fotografa Social of-
del interior del pas la oportunidad de visibilizar sus problemas a nivel na-
fered the populations and communities located outside the capital the op-
cional.
322
323
VCTOR L. CHAMBI
MSICOS, CANAS,
CUSCO
1960
324
JORGE DEUSTUA
(LIMA, 1950)
DE LA GUERRA Y PUEBLO
DE SARHUA, AYACUCHO
1993
La prolfica obra de Carlos Domnguez deriva de su labor como fotoperiodista, luego de formarse en Buenos Aires (1952-1953). Desde inicios de los
sesenta, su continuada colaboracin con los principales medios de comunicacin limeos, como el diario La Prensa o la revista Caretas, ayud a consolidar a la fotografa como un vehculo crucial para la comprensin de los
cambios polticos del pas. En ese sentido, Domnguez explor los nuevos
escenarios y personajes populares de Lima, configurando un costumbrismo
y una potica callejera. Asimismo, su compromiso militante con la nueva
izquierda peruana lo llev a retratar protestas de transportistas o docentes,
as como la vida de sectores menos favorecidos. Detrs de esta eleccin
temtica yace una apuesta por la denuncia y crtica sociales, caractersticas
de su obra. Su trabajo fue reunido en una importante exposicin realizada
en 1986, y posteriormente en Los Peruanos (1989), primer libro grfico
dedicado exclusivamente a la obra de un fotgrafo peruano.
328
CARLOS DOMNGUEZ
(LIMA, 1933-2011)
DURANTE UN PARO
DE MAESTROS
1979
After distancing himself from his studies in painting after the close of the
National School of Fine Arts (1977), Herman Schwarz dedicated himself to
photo and graphic journalism. His work in this field covered a range of
themes including the recording of street life and the popular or working
classes. This reflected in one way or another his commitment to the new
Peruvian left, which would lead him to initiate Interfoto at the end of the
seventies a form of expression independent of the enforced styles of the
media. The series of portraits of the painter Vctos Humareda are distinguished from his other works (which are more concerned with societal
order) because of their concentration on the life of the artist. His choice of
character is not the same, however, as that of Baldomero Pestana in his
portraits of intellectuals of the middle class. Humareda was an painter of
working class origin whose artistic production was attentive to marginal
urban scenes. Without loosing the form and overtone of a documentary
tradition, Schwarzs series holds an expressionist character that connects
with the aesthetic and ideological interests of his generation.
330
HERMAN SCHWARZ
(LIMA, 1954)
1984
Since 1987 Jaime Rzuri has produced an important body of work of short
films, stemming from his collaborations with the daily newspaper La
Repblica, the weekly Caretas and the French Press Agency. The series Lima
hoy [Lima Today] (1991) proposes an agile gaze at the city and its beaches,
capturing specific moments and atmospheres. It also reflects Razuris stated
interest in the culture and aesthetics of chichi or Limean kitsch, shared by
many of the artists working during the nineties, such as Gilda Mantilla and
her work Lima*Mala*Lima [Lima, Bad, Lima](1997). In a wider sense, the
concern and sensibility for the social has been at the center of the artistic
production of this artist. This is made manifest in the images of the internal
armed conflict, which was included in the exhibition Yuyanpaq by the Commission of Truth and Reconciliation. This is also especially expressed by his
project about HIV patients (1993-2007), initiated when the theme was still a
taboo in Peruvian society.
332
333
JAIME RZURI
(LIMA, 1956)
1991
Avenida Emancipacin
Impresin en gelatina de plata sobre
papel
28 x 35.5 cm.
Museo de Arte de Lima.
Donacin del autor
1997.9.5
Avenida La Colmena
Impresin en gelatina de plata sobre
papel
35.5 x 28 cm.
Museo de Arte de Lima.
Donacin del autor
1997.9.9
La produccin de Ch. Vargas ha estado ms vinculada al periodismo grfico que a los espacios artsticos tradicionales, e incluso su primera exposicin individual solo se present en 1994. Su formacin no fue acadmica,
sino que se defini a travs de su labor en el semanario limeo Caretas, en
donde ha trabajado desde 1979 hasta la actualidad. Las imgenes ms conocidas de Ch. Vargas se caracterizan por destacar el rol del fotgrafo como
testigo presencial, y por reafirmar el contenido emocional como elemento
constitutivo de la imagen. Esta particular aproximacin le permiti junto a
Carlos Saavedra y otros fotgrafos de su generacin renovar el fotoperiodismo limeo. Su amplia produccin documenta desde hechos y personalidades cruciales de la vida nacional, hasta situaciones de violencia poltica o
desastres naturales en diferentes regiones del pas. Pero la constante en su
obra ya sea al captar al escritor Mario Vargas Llosa o un desborde de ro en
Piura es su sensibilidad interesada por construir el momento decisivo,
siguiendo as los lineamientos del fotgrafo Robert Cartier-Bresson.
334
The work of Ch. Vargas has been linked more to the fields of photojournalism than to traditional art spaces, in fact presenting his first solo exhibition
only in 1994. His education was not academic but rather defined by his work
with the weekly Limean newspaper Caretas, where he has worked since 1979
until the present. The best known work of Ch. Vargas is characterized for
stressing the role of photography as a witness, and for reaffirming the emotional content as a constitutive element of the image. This particular element allows him to update and develop Limean photojournalism, something
he did together with Carlos Saavedra and other photographers of his generation. His prolific output records anything from important events and characters of national life to situations of political violence or natural disasters in
different regions of the country. But the reoccurring element in his work
whether it is photographing the writer Mario Vargas Llosa or an overflowing river in Piura is his interest in constructing the decisive moment,
following the guidelines of the photographer Robert Cartier-Bresson.
335
336
Inundacin, Piura
1983
Impresin en gelatina de plata sobre
papel
30 x 40 cm.
Museo de Arte de Lima.
Donacin del autor
1997.20.9
El Taller de Fotografa Social se organiz en 1986, cuando la violencia poltica en Ayacucho y otras regiones haba recrudecido. El proyecto apuntaba a
recoger y visibilizar imgenes de las comunidades, para ellas mismas y para
el exterior. A partir de una primera experiencia en Pacchanta (Ocongate,
Cuzco), TAFOS funcion como una serie de talleres en los que se ofreca
equipos y asesora tcnica a campesinos, para que capturasen situaciones o
hechos de su entorno. La experiencia misma de fotografiar, revelar y exhibir
esas imgenes constitua as un espacio para el debate de la vida en la
comunidad. Algunas fotografas fueron adems exhibidas fuera del Per y
llegaran a ganar el premio Casa de las Amricas (La Habana) en 1987. Para
1991, los fotgrafos eran alrededor de setenta, distribuidos en nueve talleres
ubicados en provincias altas de Puno y Cuzco, en reas urbanas de Juliaca,
Cuzco y Lima, as como en los centros mineros de La Oroya y Morococha.
Tras la desactivacin de los talleres, TAFOS viene funcionando como archivo
y agencia de distribucin de imgenes.
The Taller de Fotografia Social (TAFOS) was organized in 1986 when the
political violence in Ayacucho and other regions had increased significantly.
The project intended to collect and visibilize images of communities, for
themselves and for others externally. After a preliminary encounter in Pacchanta (Ocongate, Cusco), TAFOS worked as a series of workshops in which
equipment and technical assistance was offered to agricultural workers so
that they may capture situations or evens in their environment. The photographing and exhibiting of theses images ended up creating a space for
debate in the community. A few photographers were even exhibited outside
of Peru and would eventually win the Casa de las Americas prize (La
Habana) in 1987. In 1991 there were around seventy photographers distributed across nine workshop spaces located in the provinces of Puno and
Cuzco, in areas of Juliaca, Cusco and Lima, as well as the mining centers of
La Oroya and Morococha. Since the activity of the workshops ceased, TAFOS
has continued to operate as an archive and an image distribution agency.
338
TALLER DE FOTOGRAFA
SOCIAL (TAFOS)
(PER 1986 - 1998)
TALLER DE FOTOGRAFA
SOCIAL (TAFOS)
1986 - 1998
1987-1990
340
Carnaval de Chinchina
Impresin en gelatina de plata sobre
papel
40.5 x 50.5 cm.
Museo de Arte de Lima.
Donacin TAFOS
1997.6.9
341
Boda a caballo
Impresin en gelatina de plata sobre
papel
40.5 x 50.5 cm.
Museo de Arte de Lima.
Donacin TAFOS
1997.6.16
Mi piedra y yo
Impresin en gelatina de plata sobre
papel
40.5 x 50.5 cm.
Museo de Arte de Lima.
Donacin TAFOS
1997.6.4
Mi piedra y yo
Impresin en gelatina de plata sobre
papel
40.5 x 50.5 cm.
Museo de Arte de Lima.
Donacin TAFOS
1997.6.4
When Mariel Vidal produced the series La costa [The Coast], the subject
matter was not a new theme in artistic photography as it was already at the
core of an important predecessor: the series Chorrillos (1979) by Mariella
Agois. Just like Agois, Vidal was affiliated with the Secuencia Foto Galera
from the beginning and she exhibited there in 1979. In this context, her work
developed a modernist sensibility while highlighting the expressionist character of the medium. Throughout the eighties she became interested in the
representation of diverse regions of the Sierra and the jungle of the country.
The following decade brought a change of gaze for Vidal and others of her
generation as they began to turn towards the urgency of the working class
sectors and their role on the national stage. Perhaps because of this, in The
Coast the artist puts the subjective dimension in second position and
focuses on the photographed people, many of whom are women. In contrast
to the ethereal presence of Chorrillos, the characters in Vidals series return
the gaze and communicate with the spectator.
342
343
MARIEL VIDAL
(LIMA, 1950)
1990
344
345
# 001
Impresin en gelatina de plata sobre
papel
40 x 40 cm.
Museo de Arte de Lima. Comit de
Adquisiciones de Arte Contemporneo
2012 con fondos de contrapartida de
la Feria Lima Photo 2012
2012.27.1
(PER, 1966)
SERIE VIBRIO
CHOLERAE
1991
346
347
CRONOLOGA
SIGLO XX
CHRONOLOGY
XX CENTURY
PRDIDA Y RESTAURACIN
DEL AURA EN LA
REPBLICA DE WEIMAR
PERUANA (1980-1992)
GUSTAVO
BUNTINX
1906
1902
1903
1904
1905
La participacin de Astete en
Domingo Pantigoso.
Artes y Oficios.
taria.
los participantes.
cipal de Lima.
presidencia.
Normal de Varones
Masperi.
Minsculas.
tico.
Fernando en la Universidad de
Nacional.
de Agricultura.
San Marcos.
de la revista Prisma.
Rodenas.
1900
1901
dente.
Prensa.
Carlos Baca-Flor
Maqueta del monumento a San Martn
ca. 1905
Museo de Arte de Lima.
Archivo Baca-Flor
Inauguracin del monumento
a Francisco Bolognesi
(Foto Luis S. Ugarte)
1905
Actualidades, Lima, n. 138
(18 de noviembre de 1905): [17]
Fachada del Estudio Fotogrfico
Courret
1906
Museo de Arte de Lima.
Archivo de Arte Peruano.
1909
1912
1910
1911
Camino Brent.
y Brasil.
puru.
Garca Caldern.
de Lima.
primer gobierno.
a Buenos Aires.
Ilustracin Peruana.
Ilustracin Peruana.
Se inaugura el monumento a
en Buenos Aires.
Raimondi.
lonial.
York.
aprendiz suyo.
escritores.
Cinema Teatro.
1907
1908
Francia.
fico Moral.
Ignacio Merino.
Huelga de estibadores en el
parte a Europa.
licas.
Callao.
la publica en Lima.
de Lima.
pintura Concha.
mente.
en el Putumayo.
Picchu.
Fortuny.
frontera comn.
Indgena.
1917
1918
1919
1920
el Crculo Artstico.
Per.
Luis S. Ugarte.
Indgena Tahuantinsuyo.
el Centenario de la Independencia
Concha.
Mercaderes.
Reinoso en Lima.
en Lima.
en el norte.
nacimiento.
indgenas.
precolombinos la cartula de La
blece en el Cusco.
escuela moderna.
indgena.
grantes de Colnida.
Lima.
de la SBAP.
Vinatea Reinoso.
tiente de Francia.
y Martn Chambi.
York.
1913
1914
1915
1916
Fundacin de la Sociedad de
revista Variedades.
carril de Cajamarca.
Len Bonnat.
Se construye el Palais Concert,
obra de la firma Masperi.
Daniel Aloma Robles compone la
zarzuela El cndor pasa.
y Azngaro.
Billinghurst.
presidencia.
B. Legua.
y Masacre de Llaucn.
Santiago Rojas.
trabajadores indgenas.
Jos Glvez.
Unanue.
horas.
negros.
tina.
Andrs Belaunde.
Valdelomar.
peruana de ficcin.
Cartula de Mundial,
primer nmero
Lima, n. 1
(23 de abril de 1920)
Museo de Arte de Lima,
Biblioteca Manuel Solari Swayne
1925
1924
1923
1922
1921
Primera exposicin oficial de los
Levantamientos indgenas en
alumnos de la ENBA.
tina.
Raza Indgena.
Rey.
Huancan y La Mar.
Fernando.
Mxico.
Colombia.
chero.
Eguren Larrea.
revista Vogue.
Corazn de Jess.
Batalla de Ayacucho.
Los ngeles.
Se inaugura el monumento a
Trilce.
de recepciones de Palacio de
Reeleccin de Legua.
Goyburu.
primeros premios.
Museo Nacional.
Mariano Benlliure.
Italiano en Lima.
Cotol.
Larco Herrera.
cio de la Exposicin.
cndor.
Camilo Blas.
de la Independencia.
en la necrpolis de la cultura
de oro.
Paracas.
Mxico.
sistas.
tria de Lima.
Madrid.
se va.
el Per.
1927
1926
1929
1928
Guzmn.
Larran.
Exposiciones consagratorias de
de Goyburu.
interpretacin de la realidad
Cuzco.
Lima.
Torre.
Se inaugura el Parque de la
Reserva.
cin comunista.
artstica de Sabogal.
Izcue.
Atahualpa Films.
berto Varallanos.
Se inaugura, en la catedral de
Clausura de Labor.
Per.
artes decorativas.
ras Cotol.
de pintura.
Creeft.
lismo.
colonial.
Quzpez Asn se traslada a Estados Unidos.
Jos Sabogal
Cartula de Amauta, primer nmero
Lima, n. 1 (setiembre de 1926)
Elena Izcue
El arte peruano en la escuela,
2 vols.
Pars, 1926
Museo de Arte de Lima,
Biblioteca Manuel Solari Swayne
1931
1930
1932
1933
1934
1935
1936
quipa.
Es acogida favorablemente la
racin de la ENBA.
dez.
al grupo indigenista.
Per.
nmero de Cunan.
realidad nacional.
Reinoso en la ENBA.
Se publican El antiimperialismo y
en la plaza de dibujante.
de la Torre.
Carmen Saco.
Columbia, Lima.
centenario de la ciudad.
artes populares.
En controvertidas elecciones,
plata.
mire de Pars.
bra.
fa.
Torre.
la Exposicin de Independientes
muestra en Santiago.
buna.
blema y posibilidad.
cin poltica.
Alcedo.
IV centenario de la fundacin
se movilizan a la frontera.
1940
1939
1938
1937
1941
1942
Exposiciones individuales de
Lima.
muestra en Lima.
dente.
del Eje.
Cotol.
Belaunde Terry.
Revilla, en Clermont-Ferrand,
televisiva en Lima.
Francia.
ciones cercanas.
humanos.
mante.
Espinoza Cceda.
tes.
Filarmnica.
Alegra.
Musical Bach.
indigenismo.
Independientes y I Saln de la
de la Universidad Catlica.
Foto.
ciudad.
Izcue.
Adolfo Winternitz.
Fiesta, de Arguedas.
en Ro de Janeiro.
York.
chowski.
1948
1949
1950
Angulo.
un militante aprista.
reda.
de la ENBA.
Lajos DEbneth.
cha, en Lima.
Szyszlo en Lima.
Pars.
dulento.
Terremoto en el Cuzco.
ciacin 43.
Plata.
1943
1944
1945
1946
1947
Berna, Suiza.
Sabogal.
cas de la PUCP.
Buenos Aires.
Miguel Grau.
de la marinera en el Callao. El
de pintura.
aprista.
de la canela.
dencia de la Repblica.
y Jos de la Riva-Agero.
embajada de Colombia.
Atlntico.
de Poesa.
tura.
Antropologa y Arqueologa.
Jos Sabogal
El toro en las artes populares del Per
Lima:Instituto de Arte Peruano, 1949
Revista Espacio
Lima, n. 1 (mayo de 1949)
Museo de Arte de Lima,
Biblioteca Manuel Solari Swayne
Galera de Lima.
1955
1954
1953
1952
1951
Muere Figueroa Aznar en Paucar-
Se inicia la construccin de la
tambo, Cuzco.
Facultad de Arquitectura en la
Johanna Hamann.
Hispanoamericano en Madrid,
Alberto Dvila.
Contemporneo (IAC).
de la Colina y Fernando de
Pars.
Exposiciones individuales de
dio Nacional.
cloa y Ordez.
de Lima.
edificio El Sol.
Remn.
mente.
Se construye el edificio de la
Humareda en Lima.
Dewasne.
de Seguridad Interior.
contempornea internacional en
Marcos.
vitral en vidrio-cemento en la
capital.
Guillermo Payet.
meros premios.
de la PUCP.
Manuel Moncloa.
Bondy.
Hotel Bolvar.
en el IAC.
UNMSM.
Mario Bianco
Facultad de Arquitectura de la Escuela
Nacional de Ingenieros
1955
El Arquitecto Peruano, XIX, ns. 210-211
(enero - febrero de 1955): [23]
1956
1957
1958
1961
1960
1959
Accin Popular.
marca.
Runcie Tanaka.
Szyszlo Cajamarca.
Retrospectiva en homenaje a
cin.
Participacin peruana en la V
exposiciones individuales.
Inauguracin de la estela a
Sabogal.
Allendy, Pars.
jefes.
Eduardo Moll.
Pars.
Terremoto en Arequipa.
Vallejo.
cin.
Inkarr.
Comercio de Lima.
de Lima.
peruano a la VI Bienal de So
y expone en el IAC.
Tsutaka.
televisivas.
Guzmn y Tsuchiya.
ola en el IAC.
Fundacin de la Universidad
muralismo mexicano.
mica.
Nacional Agraria.
OEA.
diario Expreso.
Jorge Oteiza
Escultura homenaje a Csar Vallejo
1961
Museo de Arte de Lima, Archivo
Institucional
1967
1968
1969
IAC.
val de Ancn.
el IAC.
la Va Expresa.
cuentenario de la ENBA.
UNMSM.
1965
1966
Pintura Teknoqumica.
UNMSM.
por Arguedas.
obras experimentales.
de escultura.
Representacin peruana en la
Fernando, en Madrid.
1962
1963
1964
de Teknoqumica.
sol de Lima.
Teknoqumica.
Pintura Teknoqumica.
Rey.
Reforma Agraria.
Center.
Recavarren.
ICPNA.
de la repblica.
ricas, en La Habana.
de Eielson en Pars.
y expone en el IAC.
tina.
Federico Villarreal.
crisis financiera.
estudiantil.
cionario.
Se transmite la telenovela
guardias ms recientes.
Adolfo Winternitz
Vitrales de la iglesia de Nuestra Seora
de Guadalupe, Lima
1964
Fanal, Lima, XXIII, n. 86 (1968): 20
1976
1973
1974
1975
orientacin izquierdista.
Parque de la Reserva.
en Frum.
Sesquicentenario de la Indepen-
York.
dencia Nacional.
Participacin de Eielson en la
10.
cin.
demie de Dsseldorf.
desrdenes en Lima.
Casa de la Cultura.
tura Teknoqumica.
Italiano.
desarrollo.
no.
orgenes.
rios de Lima.
dual en Lima.
dra, Lima.
Peruvian Corporation.
Sesquicentenario de la Batalla de
pintor aficionado.
Bienal de So Paulo.
Ayacucho.
artistas locales.
Gobierno Revolucionario.
reorganizacin de la ENBA.
vador.
Bayn.
Central de Trabajadores de la
de Madrid.
Informe. 9.6.72.
Se inaugura la Galera 9.
1972
1970
1971
(Sinamos).
muestra en el IAC.
Expreso y Extra.
a la pintura peruana.
Mirko Lauer
Introduccin a la pintura peruana
del S. XX
Lima: Mosca Azul, 1976
1977
1978
1979
1980
1981
1982
rado.
de la ENBA.
grabado El Taller.
Glvez.
de Huamanga. El departamento
tas y arquitectos.
Camino Brent.
de Ayacucho es declarado en
Antay.
estado de emergencia.
con violencia.
Acha.
cayo, Lima.
Textos.
Cojudos y Sarita.
nos.
ciones presidenciales.
Pintura Teknoqumica.
Julia Codesido.
cin poltica.
obrera de Cromotex.
Inauguracin de El perfil de la
dos Unidos.
Abierto.
Vivienda (Fonavi).
1980-1981.
fines de mayo.
INC..
Fernando La Rosa
Fachada de Secuencia Foto Galera
c. 1977
Museo de Arte de Lima,
Archivo Institucional
Dormir es una obra maestra,
performance de Jorge Eduardo Eielson
en la Galera Nueve, Lima
1978
Fotografa de Alicia Benavides
E.P.S. Huayco
Sarita Colonia
1980
Fotografa de Marianne Ryzek
Teresa Burga y Marie-France Cathelat
Invitacin-volante del proyecto
Perfil de la mujer peruana (1980-1981)
1980
Museo de Arte de Lima,
Archivo Teresa Burga
Mirko Lauer
Crtica de la artesana
Lima: Desco, 1982
1984
1983
1985
1986
1987
1988
1989
1990
II Bienal de Trujillo.
de Pintura Teknoqumica.
en el pueblo de Lucanamarca.
Agero.
Enfrentamiento de la Guardia
Banderas.
Eielson.
Arte de Lima.
tar.
en Ocongate, Cuzco.
quipa.
Per, en La Molina.
de El Frontn.
mente.
Desatorador, performance de
Renuncian autoridades de La
religiosas andinas.
de arte-correo en la Casona de
Larran.
nia.
tales de Lima.
nazas terroristas.
San Marcos.
Amaru (MRTA).
Cierre de La Prensa.
la II Bienal de La Habana.
res.
cay, Ayacucho.
Per.
Congreso de la Internacional
Invasin de la quebrada de
Socialista en Lima.
presidenciales.
banca.
Armando Williams.
emboscada terrorista.
(Fujishock).
Pueblo.
Salinas anuncia un paquete econmico que devala la moneda.
Afiche-catlogo de la exposicin
Per un sueo, del grupo Chaclacayo
1984
Museo de Arte de Lima,
Biblioteca Manuel Solari Swayne
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
quipa
Pintura Teknoqumica.
cana de Lima.
de Pintura Teknoqumica.
Visuales de la Municipalidad de
de Cieneguilla.
Lima.
nas en Lima.
jano.
quipa.
Huarcaya.
Privatizacin de la Compaa
Peruana de Telfonos.
Cronologas.
York.
(1960-1990).
Juan Pacheco.
Jorge Heredia.
Exposiciones retrospectivas de
la frontera Per-Ecuador.
Bienal de La Habana.
Colina.
Ley de Arrepentimiento.
Conexin satelital a los servidores
de Internet.
Ribeyro.
Paz de Itamaraty.
Flavia Gandolfo.
Reeleccin presidencial de
Alberto Fujimori.
Embajada de Japn.
Lima.
corrupcin.
Andina.
por fax. Valentn Paniagua, presidente del congreso, asume provisionalmente la presidencia de la
Repblica.
CHRONOLOGY
1900
The painters Alejandro Gonzlez Trujillo
(Apurimak), Carlos Quzpez Asin and
Jorge Vinatea Reinoso are born. The
lithographer Evaristo San Cristval dies.
Peru participates in the Universal Exhibition in Paris. Alberto Lynch is awarded
the gold medal and Daniel Hernndez the
silver medal. In the same contest, photo
grapher Fernando Garreaud presents the
album Per.
Baca-Flor paints the Paris Nocturne
series.
Premier of Jos Mara Valle Riestras
opera Ollanta.
1901
The painter Manuel Domingo Pantigoso is
born in Arequipa.
Luis Astete y Concha is appointed professor of natural drawing at the Concha
Academy, a post left vacant after the
death of San Cristval.
The government announces an international competition to build a monument
to Francisco Bolognesi.
The first monument to General Jos de
San Martn in Peru is erected in Callao.
The gold standard is adopted and the
Peruvian pound is established as currency.
Expulsion of Peruvian priests from the
cities of Tacna and Arica, occupied by
Chile.
Manuel Gonzlez Prada publishes
Minsculas (Lowercase).
380
1904
Manuel Candamo dies in Arequipa. After
the provisional government of Serapio
Caldern, Jos Pardo y Barreda assumes
the presidency.
1905
Prisma, a magazine published by the
Portuguese photographer Manuel Moral
is launched. Federico Larraaga becomes
its art critic.
Inauguration of the monument to Bolognesi with the presence of the Argentine
general Roque Senz Pea. Urteaga
exhibits the portrait of this military hero
in the Casa Welsch department store.
International competition for the creation of the monument to San Martn, in
which Baca-Flor participates.
The new facade of the Courret House,
designed by Enrique Rodenas, is inaugurated.
Jos Pardo reopens the School of Arts
and Crafts.
1902
Astetes participation in the Concha
amateur painting contest generates
criticism among its participants.
The Spanish sculptor Agustn Querol wins
the competition for the erection of the
monument to Bolognesi in Lima.
1906
Tefilo Castillo sets up his studio in the
Quinta Heeren and teaches painting
courses. He also organizes the first
vernissage in Lima and publishes his
first texts on art in the magazine Actualidades.
Luis Ugarte travels to Huancayo and
installs the first photographic studio of
1903
Birth of painters Alfonso Snchez
1907
Ricardo Grau is born in Bordeaux, France.
The Ignacio Merino Municipal Art Gallery
is created.
The Italian Tancredi Pozzi wins the competition for the erection of the monument to Antonio Raimondi.
Baca-Flor receives an honorable mention
at the Paris Salon.
Stevedores strike in Callao.
The Philharmonic Society of Lima is
founded.
1908
Urteaga exhibits El rescate de Atahualpa
(The rescue of Atahualpa) in the Moral
Photo Studio.
The pictorial magazine Variedades, successor of Prisma, is launched. Julio
Mlaga Grenet, Abraham Valdelomar and
Jos Alcntara La Torre illustrate its first
issues. From Paris, Jos Garca Caldern
sends articles on Peruvian art to this
magazine.
Enrique D. Barreda wins the first prize in
the Concha painting competition.
Tefilo Castillo travels to Spain, where he
studies the work of Mariano Fortuny.
Conclusion of the Crypt of the Heroes of
the War of the Pacific, work of Emilio
Robert.
Augusto B. Legua begins his first presidential term.
1909
The indigenist painter Enrique Camino
Brent is born.
Luis Ugarte wins first place in the cartoon competition organized by Variedades.
The first issue of Ilustracin Peruana is
published.
Baca-Flor moves to New York.
Inauguration of the Municipal Theatre of
Lima and of the Guadalupe School, works
of Julio Enrique Lattini and Maximiliano
Doig, respectively.
Boundary Treaty between Peru and
Brazil.
An attempted coup led by the brother
and sons of Nicols de Pirola fails.
Mercedes Cabello dies in Lima, and Clorinda Matto de Turner dies in Buenos
Aires.
1910
Francisco Gonzlez Gamarra wins the
national cartoon competition organized
by Variedades. He assumes the artistic
direction of the magazine after Mlaga
Grenets trip to Buenos Aires.
The monument to Raimondi is inaugurated.
Riva-Agero defends his doctoral thesis
La historia en el Per (History in Peru)
and publishes it in Lima.
The King of Spain inhibits himself from
taking part in an arbitral award on the
border between Peru and Ecuador. Both
nations mobilize troops to their common
border.
1911
Juan Manuel Ugarte Elspuru is born.
Urteaga returns to Cajamarca where he
establishes a photographic studio.
Castillo designs the covers of Ilustracin
Peruana.
David Lozano and Luis Agurto earn the
top places in the Concha sculpture competition.
The young artist Reynaldo Luza leaves
for Europe.
The Pygmalion building, by the Masperi
brothers, receives an award from the
Municipality of Lima.
Rafael Marquina builds his family home in
Chosica, a first attempt at developing
neocolonial architecture.
Jos Mara Eguren publishes his collection of poems Simblicas.
Hiram Bingham announces to the world
his discovery of the ruins of Machu
Picchu.
Juan Bielovucic makes the first flight
over Lima.
1912
The Sociedad Estmulo de Bellas Artes
(Stimulus of Fine Arts Society), directed
by Emilio Gutirrez de Quintanilla and
devoted to free education of the various
artistic disciplines, is created.
Sebastin Rodrguez meets the photographer Luis Ugarte in Huancayo and starts
working as his apprentice.
Call for a general strike in Lima during
the general election. Congress annuls the
election and proclaims Guillermo Billinghurst as president.
First issue of El Deber Pro Indgena
(Pro-Indian duty).
La Revista de Amrica (The journal of
America) appears in Paris, edited by
Francisco Garca Caldern.
Manuel Gonzlez Prada becomes director
of the National Library, following the
resignation of Ricardo Palma. Controversy among fans of both writers ensues.
The British consul in Manaus, Sir Roger
Casement, denounces the exploitation of
Amazonian Indians by Peruvian rubber
tappers in Putumayo.
1913
Manuel Moral dies.
Castillo starts writing for Variedades
magazine.
Arias de Solis opens in Lima the Academy of Painting and Sculpture Len
Bonnat.
The Palais Concert, designed by Masperi,
is built.
Daniel Aloma Robles composes the
zarzuela El Cndor Pasa.
1914
Srvulo Gutierrez is born in Ica. The
painters Jos Effio and Luis Astete y
Concha die.
Ugarte is appointed professor of Natural
Drawing at the Concha Academy.
Elena Izcue designs the cover of La
escuela moderna with pre-Columbian
motifs
General Oscar R. Benavides overthrows
President Guillermo Billinghurst.
Indigenous uprising in Puno and slaughter of Llaucan.
1915
Urteaga closes his photographic studio.
He publishes his writings in El Ferrocaril,
from Cajamarca.
Ugarte opens his photography and painting business in Mercaderes Street.
The Bohemia de Trujillo is constituted
around Antenor Orrego and Jos E.
Garrido, which will involve Macedonio de
la Torre and Camilo Blas, among others.
382
1916
Foundation of the Sociedad de Bellas
Artes del Per SBAP (Society of Fine Arts
of Peru) by Luis S. Ugarte.
Carlos Raygada exhibits cartoons at the
Ugarte studio.
First solo exhibition of Jos Sabogal in
Jujuy, Argentina.
Ricardo de Jaxa Malachowski wins the
competition for the construction of the
1917
I Winter Salon of the SBAP.
Reynaldo Luza wins a municipal competition and exhibits with Mlaga Grenet at
Casa Courret.
Ignacio Merino exhibition to mark the
centenary of his birth.
The Centro Artstico de Arequipa (Art
Center of Arequipa) organizes watercolor
and photography competitions. Manuel
Domingo Pantigoso, Jorge Vinatea Reinoso and Martn Chambi obtain bronze
medals.
First solo exhibition in Arequipa of
Vinatea Reinoso.
Castillo travels to Argentina following the
southern Andean route.
Peru breaks diplomatic relations with
Germany during World War I.
Murder of Leonidas Yerovi in front of the
headquarters of the newspaper La
Prensa.
Last issue of El Deber Pro Indgena.
1918
The sculptor Libero Valente founds the
Crculo Artstico (Artistic Circle).
Camilo Blas travels to Trujillo where he
becomes associated with the Grupo
Norte (Northern Group).
Solo exhibition of Vinatea Reinoso in
Lima.
Sabogal returns to Peru and settles in
Cusco.
Castillo returns to Lima from Santiago
and promotes the creation of a School of
Fine Arts.
Reynaldo Luza leaves for New York.
The sculptor Santiago Rojas is born in
Cuzco.
1919
Opening of the Escuela Nacional de
Bellas Artes ENBA (National School of
Fine Arts) under the direction of Daniel
Hernndez.
Impresiones del Ccoscco (Impressions of
Cuzco), first indigenist exhibition of Sabogal in Lima.
The exhibition of photo-paintings by
Juan Manuel Figueroa Aznar causes
controversy in Lima.
SBAPs Revista de Bellas Artes (Magazine
of fine arts) is launched.
The Spanish artist Manuel Piqueras
Cotol arrives to Peru invited as professor
of sculpture at the ENBA.
Struggle for the eight-hour workday.
Legua assumes the presidency: the
oncenio (eleven-year period) begins.
Ricardo Palma and Abraham Valdelomar
die.
1920
Victor Humareda is born in Puno.
Camilo Blas wins the painting competition organized by the Municipality of
Trujillo on occasion of celebrations of the
Centennial of Independence in the north.
Urteaga paints Despus de la faina, his
first indigenist themed painting.
First issue of the magazine Mundial, with
illustrations by Vinatea Reinoso.
The government hires Piqueras Cotol to
make the monuments to Bartolom
Herrera and Hiplito Unanue.
Removed from the ENBA, Castillo self-exiles in Tucuman, Argentina.
New Political Constitution of Peru.
The Tawantinsuyu Committee for Indigenous Law is founded.
Vial Conscription Act imposes forced
labor of indigenous peoples.
Cuentos Andinos (Andean Tales), indigenist literature of Enrique Lpez Albjar.
1921
First official exhibition of the students of
the ENBA.
Solo shows of Jos Sabogal, Bernardo
Rivero and Dario Eguren Larrea.
Elena and Victoria Izcue present an
exhibition of Inca Decorative Art at the
National Museum.
The magazine Per is launched in Trujillo,
with illustrations by Camilo Blas.
Quzpez Asin travels to Madrid and
enters the Royal Academy of San Fernando.
Luza designs a cover for Vogue magazine.
The monument to San Martn, designed
by the Valencian sculptor Mariano Benlliure is inaugurated.
First Centennial of Independence celebrations.
I Indian National Congress.
International Exhibition of Industry of
Lima.
Jos Glvez publishes Una Lima que se
va (A Lima that is fading).
1922
Tefilo Castillo dies in Argentina.
Second annual exhibition of the ENBA.
Hector Spiers (painting), Ismael Pozo
(sculpture) and Germn Surez (drawing)
obtain the first prizes.
Solo exhibitions by the artist Vctor
Morey and the sculptor Albert Pablich.
Sabogal marries writer Mara Wiesse and
they embark on a trip to Mexico.
Luza leaves Vogue and starts working at
Harpers Bazaar.
Creation of the Boards for the Protection
of the Indigenous Race.
Boundary Treaty between Peru and
Colombia
Csar Vallejo published his collection of
poems Trilce.
Symbolic coronation of the poet Jos
Santos Chocano in the Palacio de la
Exposicin (Exhibition Palace).
1923
The sculptor Joaqun Roca Rey is born.
Urteaga receives his nephew Camilo Blas
in Cajamarca, who persuades him to
1924
Jorge Eduardo Eielson is born.
On the occasion of the celebrations for
the Centennial of the Battle of Ayacucho
professors and students of the ENBA
decorate the reception hall of the Government Palace, designed by Piqueras
Cotol.
Sabogal travels to southern Peru in the
company of Camilo Blas.
Piqueras concludes the neo-Peruvian
facade of the ENBA, Malachowski finishes
building the Archbishops Palace in Lima
and Claudio Sahut the Pantheon of
Heroes.
Vctor Ral Haya de la Torre founds the
APRA party while in exile in Mexico.
Celebrations for the Centennial of the
Battle of Ayacucho.
Reelection of Legua.
Ventura Garca Caldern publishes in
Madrid La venganza del cndor (The
condors revenge).
1925
The painters Fernando de Szyszlo and
Jorge Piqueras are born.
Sabogal paints Varayoc de Chinchero.
Avant-garde exhibition of Emilio Goyburu.
Sabogal decorates the Peruvian pavilion
at the International Centennial Exposition of Bolivia. The photographers
Chambi and Carlos and Miguel Vargas
receive gold medals.
Csar Moro moves to Paris.
Victor Morey shows in Buenos Aires and
1926
Exhibitions of Vinatea Reinoso in Lima,
and Camilo Blas together with Domingo
Pantigoso in Sicuani, Cuzco.
Jos Carlos Maritegui founds the magazine Amauta under the artistic direction
of Sabogal.
The Boletn Titikaka, herald of the Orkopata group, is launched in Puno. Its pages
are illustrated by Amadeo La Torre,
Camilo Blas, ngel Demetrio Peralta
(Diego Kunurana), among others.
Inauguration of the monument to Manco
Capac in La Victoria.
Csar Moro exhibits in Brussels alongside
Latin American artists.
Elena Izcues El arte peruano en la
escuela (Peruvian art in school) is published in Paris.
Baca-Flor is appointed corresponding
American member of the fine arts section of the French Institute..
Rafael Larco Herrera opens his archaeological museum in Pueblo Libre, Lima.
Foundation of the Resurgimiento (revival)
group, in defense of the Indians.
Legua censors the film Pginas heroicas
(Heroic pages), produced by Atahualpa
Films.
1927
The sculptor Alberto Guzman is born in
Talara.
Consecratory exhibitions of Camilo Blas
and Martn Chambi in Lima.
Sculptors Ramn Mateu (Spanish) and
Edmundo Moeller (German) exhibit in the
capital.
Call for an international competition to
1930
Ramn de Lima Zubiaurre visits Lima and
exhibits Basque-themed works at the
Bolivar Hotel. His second exhibition, of
Peruvian subjects in the National
Museum causes a controversy about
national art.
Exhibition of watercolors by Isabel Jaramillo Isajara at the Casa Columbia,
Lima.
Macedonio de la Torre returns to Europe
and exhibits at the Alcedo Academy.
1928
The painter Emilio Rodrguez Larran is
born.
Vinatea Reinoso travels to Puno and
becomes associated with the Orkopata
group.
Jos Malanca exhibits in Lima, and Sabogal in Buenos Aires.
At the Cathedral of Lima, the funeral
chapel of Francisco Pizarro, designed by
Piqueras Cotol, is inaugurated.
The avant-garde artist Jorge Seoane
leaves for Europe.
Martn Noel designs the Embassy of
Argentina in Lima in neocolonial style.
Quzpez Asin moves to the United States.
Maritegui founds the Socialist Party and
publishes his Siete ensayos de interpretacin de la realidad peruana (Seven
Interpretative Essays on Peruvian Reality). Break with Haya de la Torre.
Elmer J. Faucett establishes the first
commercial airline in Peru.
1929
The painters ngel Chvez, Eduardo Moll
and Tilsa Tsuchiya are born.
First solo exhibition in Lima of Julia
Codesido.
The Parque de la Reserva (Reserve Park)
is inaugurated.
Presentation of the Peruvian pavilion at
1931
Vinatea Reinoso dies in Arequipa.
Sabogal and Codesido exhibitions at the
University of San Marcos.
Creation of the Instituto de Arte Peruano
(Peruvian Art Institute) under the leadership of Jos Sabogal. Camilo Blas accompanies him as head of the drawing
department.
Jos Mara Eguren publishes La filosofa
del objetivo (Philosophy of the objective),
based on his theoretical interest in photography.
The cenacle Los Duendes presents the
Exhibicin de Independientes Peruanos
(Exhibition of Independent Peruvians) in
Casa Columbia, Lima. The painter Carlos
More also exhibits his work in Lima.
1932
The painters Miguel Nieri and Venancio
Shinki are born. Daniel Hernndez and
Juan Lepiani die.
Exhibition of the Japanese painter Tsuguharu Foujita in Lima.
Posthumous exhibition of Vinatea Reinoso at the ENBA.
Emergency Law and closing of the University of San Marcos.
Uprising of APRA activists violently
repressed in Trujillo.
Fourth centennial of the capture of Atahualpa.
1933
Sabogal is officially named director of
the ENBA and organizes a posthumous
exhibition of Hernndez.
Exhibitions of Espinosa Saldaa, Francisco Gonzlez Gamarra, Domingo Pantigoso and Amadeo de la Torre.
Elena Izcue enters the School of Advertising de la Grande Chaumire, in Paris.
Snchez Cerro is assassinated. General
scar R. Benavides takes over the presidency.
A new constitution is promulgated.
1934
Gastn Garreaud is born in Lima.
Urteagas first solo exhibition in Lima is
well received. The painter meets the
indigenist group.
Exhibitions of Tefilo Allan, Carlota
Carvallo, Ricardo Flrez and Carmen
Saco.
Rafael Larco Hoyle publishes Cusco
histrico (Historical Cusco), with photographs of Chambi and Figueroa Aznar.
Peruvian submission to the II Summer
Salon of Via del Mar.
APRA party goes into hiding after being
declared illegal by the government.
IV centennial of the Spanish founding of
Cuzco.
1935
Teresa Burga is born in Iquitos.
First Surrealist exhibition in America,
organized in Lima by Csar Moro and
Mara Valencia.
Exhibitions of Reynaldo Luza, Enrique
Barreda and Martn Chambi.
The Argentine sculptor Luis Perlotti
exhibits in Lima during the citys fourth
centennial.
An International competition for the
erection of monuments to Miguel Grau, in
Piura and Lima, is announced.
Chambi travels to Chile.
Elena and Victoria Izcue exhibit their
pre-Incan inspired designs in New York.
Celebrations for the Fourth Centennial of
the founding of Lima.
The director of the newspaper El Comercio, Antonio Mir Quesada de la Guerra,
and his wife are murdered at the hands
of an APRA activist.
Haya de la Torres El antimperialismo y el
APRA (Anti-imperialism and APRA), and
Jos M. Arguedass Agua (Water) are
published.
384
1936
First solo exhibition of Enrique Camino
Brent.
Luis S. Ugarte leaves for Europe and
Carlos Quzpez Asin returns to Peru.
Alicia and Celia Bustamante found the
Pea Pancho Fierro, meeting and exhibition space for folk artists.
The cultural magazine Palabras is
launched.
With the support of APRA, Luis A. Eguiguren wins the general elections, which
are annulled, extending the Benavides
government until 1939.
Felipe Pinglo Alva dies.
1937
Gerardo Chvez is born in Trujillo. Manuel
Piqueras Cotol dies in Lima.
Exhibition of Francisco Laso in the exhibition space Entre Nous.
Sabogal exhibits at the Philharmonic
Society.
Ricardo Grau arrives to Peru and exhibits
for the first time. He leads the opposition
to indigenism.
The I Salon of Independent Artists and
the I Salon of Photography are organized.
The magazine El Arquitecto Peruano
(Peruvian architect), edited by Fernando
Belande Terry, is launched.
Peruvian submission to the V Summer
Salon of Via del Mar.
Peru participates in the Exposition Internationale des Arts et des Techniques
appliqus la vie modern (International
Exhibition of Art and Technology in
Modern Life) in Paris. Francisco Gonzlez
Gamarra, Camilo Blas, and Luis Ugarte
Jr., among others, receive gold medals.
1938
Solo exhibitions of Urteaga and Espinosa
Saldaa.
Exhibition of the Ingidenist group at the
Pea Pancho Fierro.
Srvulo Gutierrez moves to Paris and
befriends Alejandro Gonzlez Trujillo,
Ernesto More and Csar Vallejo.
The Izcue sisters travel from Paris to New
York to decorate the Peruvian pavilion at
the Worlds Fair
Austrian painter Adolfo Winternitz
migrates to Peru.
Construction of the Government Palace,
by architect Malachowski, is completed.
VIII Pan American Conference in Lima.
Csar Vallejo dies in Paris. Posthumous
edition of his Poemas humanos (Human
poems).
1939
Winternitz presents his first exhibition in
Lima.
First exhibition of folk art, organized by
Alicia Bustamante.
Gonzlez Gamarra assumes the presidency of the Society of Fine Arts, until
1945.
1940
The painter Jess Ruiz Durand is born in
Huancavelica, and Carlos Revilla is born
in Clermont-Ferrand, France.
II Salon of Independent Artists.
The National Workshop of Applied
Graphic Arts is created under the direction of Elena Izcue.
Winternitz founds and directs the Academy of Catholic Art with support from
the Catholic University.
Srvulo Gutirrez and Juan Manuel
Ugarte Elspuru return to Peru.
Peru severs ties with Axis nations.
Earthquake affects Lima and nearby
towns.
1941
Carlos Baca-Flor dies in Paris.
First exhibition of Srvulo Gutierrez in
Lima. The sculptor Romano Cceda
Espinoza also exhibits in Lima.
Camilo Blas exhibits at the Bach Musical
Institute.
The Provincial Council of Lima organizes
an exhibition of Peruvian painting in Via
del Mar.
Conflict with Ecuador.
Ciro Alegras El mundo es ancho y ajeno
(Broad and alien is the world), and Arguedass Yawar Fiesta are published.
1942
Jos Mara Eguren dies.
Luis Fernndez Pradas La pintura en el
Per (Painting in Peru) and Raul Maria
Pereiras Ensayo sobre la pintura peruana contempornea (Essay on contem-
1943
Birth of artists Jos Tola, in Lima, and
Francisco Mariotti, in Bern, Switzerland.
Controversy after the painter Jos Gutirrez Infantas wins the I Municipal Salon
of Painting.
Sabogal is forced to resign as director of
the ENBA. In support, teachers and students leave the institution and form the
Association 43.
Amazonic exhibition in Lima. Ugarte
Elspuru and Srvulo Gutirrez share the
first prize for painting.
Peru adheres to the Atlantic Charter.
Fire of the National Library.
1944
Jos Bresciani, Jorge Piqueras and Fernando de Szyszlo study at the School of
Visual Arts at the Pontificia Universidad
Catlica (PUCP).
Criticism to Victorio Machos proposal for
the monument to Miguel Grau.
Emilio Pettorutti accepts Srvulo Gutirrez as an auditing student at the School
of Fine Arts in La Plata.
The Confederation of Workers of Peru,
affiliated to APRA, is created.
Enrique Domingo Barreda and Jos de la
Riva-Agero die.
1945
Rafael Hastings is born.
Srvulo Gutierrez returns to Peru and
exhibits works done in Buenos Aires.
National Mining Exhibition in the School
of Engineering. Sabogal makes decorative works.
Foundation of the Regional School of
Fine Arts of Cuzco under the direction of
Jos ngel Rozas.
Jos Luis Bustamante y Rivero wins the
1946
Reopening of the Instituto de Arte Peruano (Peruvian Institute of Art), under the
direction of Sabogal.
Ricardo Grau becomes director of the
ENBA.
Juan Ross La pintura contempornea en
el Per (Contemporary painting in Peru)
is published.
Inauguration of the monument to Miguel
Grau in Lima.
Maria Reiche begins her research on the
Nazca lines.
1947
Ramiro Llona and Lucy Angulo are born.
Foundation of the Agrupacin Espacio,
headed by Luis Mir Quesada, Sebastin
Salazar Bondy, Fernando de Szyszlo and
Samuel Prez Barreto.
Szyszlos first solo show in Lima.
Exhibition of the Trade Union of Artists
and Allied Workers, created by APRA that
same year.
Opening of the Gallery of Lima.
II Summer Salon of Ancon.
Camilo Blas is bestowed the Ignacio
Merino National Award 1946 of the Contest of Cultural Promotion.
An APRA party activist murders Francisco Graa, director of La Prensa.
Rupture of the Democratic Front. APRA
shifts towards the opposition.
Jos Mara Arguedas and Francisco
Izquierdo Ros publish Mitos, leyendas y
cuentos peruanos (Myths, legends and
Peruvian tales).
1948
Joint exhibition of Szyszlo and Eielson at
the Gallery of Lima.
The Austrian painter Pedro Ostrowsky
settles in Lima.
Eielson travels to Paris.
Luis Mir Quesada finishes building the
Huiracocha House in Lima.
1949
First exhibition of sculptor Joaqun Roca
Rey.
Ricardo Grau is separated from the direction of the ENBA. Francisco Gonzlez
Gamarra replaces him.
Espacio magazine is launched.
Szyszlo marries the poet Blanca Varela
and they travel together to Paris.
Odra dissolves the Parliament.
Homeland Security Act: persecution of
the left and APRA.
Granda composes the song La flor de la
canela (Cinnamon flower).
1950
Enrique Kleiser exhibits abstract painting in Lima. Controversy in the city over
the exhibition of the Hungarian artist
Lajos DEbneth.
Szyszlo exhibits at the Mai Gallery in
Paris and creates the lithographic series
Homenaje a Vallejo (Homage to Vallejo).
First solo exhibition of Emilio Rodrguez
Larran, at the Galera de Lima.
Mariano Soyer returns to Lima and Vctor
Humareda leaves for Argentina.
Tefilo Allan organizes the exhibition
Peruvian Art in Caracas.
Odra is elected Constitutional President in fraudulent elections.
Earthquake in Cuzco.
1951
Figueroa Aznar dies in Paucartambo,
Cuzco.
Juan Manuel de la Colina and Fernando
de Szyszlo return to Lima. They open
their first abstract art exhibitions under
the auspices of the group Espacio.
I Salon of Visual Arts of the National
University of San Marcos (UNMSM). The
painter Juan Luis Pereira and the sculptor Joaqun Roca Rey win first prize.
Winternitz and Alfredo Ruiz Rosas partic-
1952
Szyszlo makes the short film Esta pared
no es medianera (This is no dividing wall).
Abstract art exhibitions of Emilio Rodrguez Larran, in Lima, and Alejandro Lora
Risco, in Chiclayo.
Solo exhibitions of Carlos Aitor Castillo
and Vctor Humareda in Lima.
Inauguration of Luis F. Tellos San Marcos
Gallery.
Piqueras returns to Lima and teaches at
the School of Visual Arts at PUCP.
The construction of the Faculty of Architecture at the School of Engineering,
designed by Mario Bianco, begins.
Manuel A. Odra inaugurates the National
Stadium.
1953
The painter Enrique Polanco is born.
Alberto Dvilas first solo exhibition.
Roca Rey wins the Baltazar Gaviln
National Award 1952 and Ugarte Elspuru
wins the I Manuel Moncloa y Ordez
Salon.
Winternitz installs the first cement-embedded stained-glass window in Lima at
the church of Santa rsula School.
The painter Josef Albers and the architects Walter Gropius and Jos Luis Sert
visit Lima.
Peruvian submission to the II So Paulo
Biennial including works by Goyburu,
Grau, Macedonio, Srvulo, Ugarte
Elspuru, among others.
Szyszlo and Benjamn Moncloa move to
Paris. The latter enters the workshop of
Jean Dewasne.
Inauguration of the Ministry of Finance
building, by Guillermo Payet.
1955
Closing of the Gallery of Lima and the
foundation of the Instituto de Arte Contemporneo IAC (Institute of Contemporary Arts)
Teodoro Nez Ureta and Luis Mir
Quesada Garland receive the National
Awards for the Promotion of Culture
1954, in the sections of painting and
architecture respectively.
Gastn Garreaud travels to Rome and
Moll and Szyszlo return to Lima. Szyszlo
wins the III Manuel Moncloa Salon.
Exhibition in homage of Urteaga at the
IAC.
II Visual Arts Salon of the University of
San Marcos.
The Brazilian critic Marc Berkowitz and
the Spanish painter Federico Castelln
visit Lima.
Roca Rey and Juan Pardo de Zela win in
Panama the international competition to
design the monument to Jos Antonio
Remn.
The Peruvian Swiss Company is built
according to a project designed by
Teodor Cron.
1954
Ricardo Wiesse and Johanna Hamann are
born in Lima.
1956
Csar Moro and Jos Sabogal die. A
posthumous exhibition of Moro is organized at the IAC.
Juan Manuel Ugarte Elspuru is
appointed director of the ENBA.
Piqueras travels to Florence.
Szyszlo and Roca Rey exhibit together in
New York and Rio de Janeiro. Upon his
return, Szyszlo is appointed professor at
the School of Visual Arts at PUCP.
The edifice of the Ministry of Education,
designed by Enrique Seoane Ros, is built.
Fernando Belande Terry founds the
Popular Action party.
Manuel Prado is elected president with
the support of APRA.
Mario Vargas Llosa publishes Los Jefes
(The Chiefs).
Jos Mara Arguedas and Josafat Roel
start spreading the myth of Inkarr.
1957
Urteaga dies in Cajamarca.
Retrospective exhibition honoring Sabogal.
Alberto Dvila obtains the prize of the IV
Manuel Moncloa Salon.
Roca Rey and Szyszlo win the competition for the decoration of the facade of El
ngel cemetery in Lima.
Benjamn Moncloa returns to Peru and
exhibits at the IAC.
Peruvian submission to the IV So Paulo
Biennial, organized by the IAC.
Emilio Rodrguez Larran moves to the
U.S. and then to Paris.
1958
The sculptor and ceramic artist Carlos
Runcie Tanaka is born.
I Abstract Art Salon at the Museo de Arte
de Lima, organized by Benjamn Moncloa
and Eduardo Moll.
Juan Acha publishes his first writings in
art criticism in El Comercio of Lima.
Alberto Guzmn receives the National
Sculpture Prize 1958.
Exhibitions of Peter Ostrowski and Jos
Luis Cuevas at the IAC. Cuevas declares
himself to be against Mexican muralism.
1959
Tilsa Tsuchiya graduates from
the ENBA with the Grand Prize
of her class.
First solo shows by Gerardo
Chvez, Alberto Guzmn and
Tsuchiya.
Sebastin Salazar Bondy
becomes director of the IAC.
Exhibitions of Cundo Bermdez,
Armando Morales, Cristina
Glvez and the Japanese informalist Waichi Tsutaka are shown
there.
Piqueras begins his Black Series
and Szyszlo begins Cajamarca.
Peruvian participation in the V
So Paulo Biennial. Szyszlo
obtains an honorable mention.
386
1960
Enrique Camino Brent dies.
Gerardo Chvez presents his
first solo show.
Allen Ginsberg and Jorge Oteiza
visit Peru. The latter, invited by
the IAC, presents a model of the
monument to Vallejo.
First informalist exhibitions in
Lima: Gloria Gmez Snchez
solo show, and Spanish group
show at the IAC.
The architect Manuel Villarn
Freire wins the Teknoqumica
Prize.
David Herskovitz and Gastn
Garreaud come to Peru and
present solo shows.
Tilsa Tsuchiya, Gerardo Chvez
and Alfredo Gonzlez Basurco
travel to Paris.
Jos Gmez Sicre organizes an
exhibition of Peruvian painting
for the headquarters of the Pan
American Union in Washington
DC.
1961
Srvulo Gutirrez dies. The IAC
organizes him an homage exhibition.
Inauguration of the monument
to Vallejo by Oteiza, Estela, in
the San Agustn square, in Lima.
Opening of the Museo de Arte
de Lima at the Palacio de la
Exposicin (Exhibition Palace).
The ENBA organizes the submission to the VI So Paulo
Biennial including maily
abstract works.
Tsuchiya exhibits in the International Exhibition of Women
Painters of the Museum of
Modern Art in Paris.
Manuel Mujica Gallo founds the
newspaper Expreso.
1962
Szyszlo wins the I Teknoqumica
Biennial of Painting.
The House of Culture is created.
Foundation of the Regional
School of Fine Arts in Iquitos,
under the direction of Vctor
Morey.
Academic activities begin at the
new campus of the University of
San Marcos.
Annulment of the presidential
elections and military coup of
1963
Szyszlo presents the series Apu
Inca Atawallpaman at the IAC,
inspired by the Quechua poem
translated by Arguedas.
Jos Tola enters the Royal
Academy of Fine Arts of San
Fernando, in Madrid.
1964
ESSO Young Artists Competition in Peru, organized by the
International Petroleum Company. Szyszlo wins first prize for
painting and Manuel Pereira
Salas the prize for sculpture.
Exhibitions by Rogelio Polesello
and Josef Albers at the IAC.
Venancio Shinkis first solo
show at the Art Center Gallery.
Alberto Dvila wins the II Teknoqumica Biennial of Painting.
Winternitz makes the stainedglass windows of the parish of
Our Lady of Guadalupe in Lima.
Peruvian delegation at the
XXXII Venice Biennale. Dvila,
Eielson, Piqueras, Rodrguez
Larran, Szyszlo and Roca Rey
participate.
Tragedy at the National Stadium: over three hundred
people die after the Argentina
vs. Peru match.
1965
III Visual Arts Salon of the
University of San Marcos. The
Argentine critic Jorge Romero
1966
IV Salon of Visual Arts of the
University of San Marcos.
Apparition of the Arte Nuevo
group, in opposition to the I
American Festival of Painting,
organized by the IAC.
Shinki wins the III Teknoqumica
Biennial of Painting.
Eduardo Moll wins first prize in
the II ICPNA Printmaking Salon.
Tsuchiya returns to Lima and
Herskovitz leaves for New York.
Luis Bedoya, mayor of Lima,
inaugurates the first bridges of
the expressway.
Earthquake in Lima and Callao.
1967
The Quartier Latin and Moncloa
galleries open in Lima.
The V Visual Arts Salon of the
University of San Marcos presents awards to members of Arte
Nuevo. Second exhibition of the
Arte Nuevo collective.
Shinki receives the Ignacio
Merino National Award for
painting.
I International Craft Biennial
organized by the National Association of Artisans of Peru, at
the Museo de Arte de Lima.
Rafael Hastings returns from
Europe and exhibits at the IAC.
Devaluation of the national
currency, Sol de Oro, and the
beginning of the financial crisis.
1968
Regina Aprijaskis presents her
first solo show at the IAC.
Ciro Palacios and Rafael Miera
receive encouragement awards
in the VI Visual Arts Salon of
the University of San Marcos.
Ricardo Grau wins the IV Teknoqumica Biennial of Painting.
Szyszlo exhibits at the Casa de
1969
Controversy surrounding the
award bestowed upon Luis
Zevallos Hetzel at the Ancon
Festival.
Tsuchiya receives the Francisco
Laso award on the occasion of
the fiftieth anniversary of the
ENBA.
Jess Ruiz Durand begins his
collaboration with the military
government to design the posters of the Agrarian Reform.
Natacin (Swimming), Eielsons
first performance in Paris.
The U.S. suspends the Hickenlooper Amendment in Peru,
after the expropriation of the oil
complex to the IPC.
University Law generates student protest.
Agrarian Reform is initiated.
The Peruvian soap opera Simplemente Mara is aired.
1970
Elena Izcue dies.
Tsuchiya wins the Teknoqumica
Painting Prize and presents an
1971
The first Contacta total art festival, organized by Francisco Mariotti, under the
auspices of the IAC, is held.
The National Institute of Culture (INC) is
created to replace the House of Culture.
First solo show of Bill Caro at Carlos
Rodrguez Saavedra Gallery, in Lima.
The conceptual artist Teresa Burga
returns to Lima.
Tola exhibits at the Seiquer Gallery in
Madrid.
Juan Acha goes into exile in Mexico.
Creation of the National System of Support for Social Mobilization (Sinamos).
Sesquicentennial of the Independence of
Peru.
Meeting of the Group of 77, a group of
developing countries.
Embargo of railways to the Peruvian
Corporation.
The shanty town Villa El Salvador is born.
1972
Second Contacta festival, sponsored by
the military regime, at the Reserve Park.
Elda Di Malio graduates from the ENBA
with the gold medal of her class.
Competition for the portrait of Tupac
Amaru to be installed in the Government
Palace. The prize is not awarded and the
work is entrusted to an amateur painter.
Teresa Burga presents the installation
Autorretrato. Estructura. Informe. 9.6.72.
The ENBA becomes dependent of the
INC.
Surrealist exhibition in Lima organized by
the MoMA of New York.
Participation of Eielson at the XXXVI
1973
Martn Chambi dies in Cuzco.
Ugarte Elspuru is deposed as director of
the ENBA. After a transitory commission,
Teodoro Nez Ureta replaces him.
Winternitz wins the Teknoqumica Biennial of Painting.
Tsuchiya begins her series Mito de los
orgenes (Myth of origins).
Szyszlo is a special guest of the So
Paulo Biennial.
The PetroPer building, designed by
Walter Weberhofer and Daniel Arana
Ros, is built.
The company PescaPer is created.
1974
Inauguration of the Monument to the
Conquerors of Ayacucho in the Pampa de
Quinoa, Ayacucho.
Eielson presents Paracas-pyramid to the
students of the Dsseldorf Kunstakademie.
The major newspapers of Lima are expropriated.
Sesquicentennial of the Battle of Ayacucho.
Augusto Salazar Bondy dies.
1975
Fernando La Rosa returns to Lima and
presents his first solo show at Forum
Gallery.
Imagen x 10 photo exhibition.
The designer Jos Bracamonte Vera and
the altarpiece maker Joaqun Lpez
Antay are awarded the National Culture
Awards. The award to Lpez causes a
reaction from local artists.
The left-leaning magazine Marka is
launched
The Government publishes Bases
1976
Disagreeing with the official pronouncement of the Peruvian Association of
Artists (ASPAP)against the award to
Lpez Antaysome of its members form
the Union of Art Workers (SUTAP).
Following the resignation of Nez Ureta,
Bracamonte becomes director of the
ENBA and leads its reorganization.
La Rosa founds and directs the Cultural
Association Secuencia.
Gallery 9 is inaugurated.
Karel Appel visits Lima.
Mirko Lauer publishes Introduccin a la
pintura peruana (Introduction to Peruvian painting).
Popular protests in Lima.
1977
Eielson presents Paisaje infinito de la
costa del Per (Infinite landscape of the
coast of Peru) at Enrique Camino Brent
Gallery.
Opening of Secuencia Photo Gallery, with
an exhibition by Aaron Siskind. The magazine Secuencia Textos appears.
National Culture Award to Julia Codesido.
Peru participates in the XIV So Paulo
Biennial with an exhibition of popular
arts and crafts prompting the protest of
local artists and Szyszlos resignation to
the Technical Commission of Visual Arts
of the INC
Juan Manuel Velasco Alvarado dies.
The CGTP carries out a national strike on
July 19 that is violently suppressed.
Peru signs the Interamerican Convention
on Human Rights.
1978
Alberto Dvila becomes director of the
ENBA.
1979
Julia Codesido dies.
The collective Parntesis publishes in El
Comercio newspaper a classified ad
requesting art patrons, a call which Mariotti answers. Some members realize the
projects Coquito and Dicembre 79.
Contacta 79 festival opens in Barranco,
organized by Mariotti with Parntesis.
Closing of Secuencia Photo Gallery.
The cultural magazine Cielo Abierto
appears.
First exhibition of the collective Signo x
signo, formed by artists and architects.
Juan Achas Arte y sociedad: Latinoamrica (Art and society: Latin America)
is published in Mexico.
A new constitution is promulgated.
Military intervention in the National
Engineering University.
Creation of the National Housing Fund
(Fonavi).
1980
Augusta Barreda creates the printmaking
center El Taller.
Foundation of the group E.P.S. Huayco
led by Mariotti. The group exhibits Arte al
paso at Forum Gallery and realizes the
projects Cojudos and Sarita.
Teresa Burga and Marie France Cathelat
conduct a socioeconomic survey of
women from Lima for the conceptual
project El perfil de la mujer peruana
1980-1981 (Profile of Peruvian women
1980-1981).
Mariotti presents a recycling exhibition at
Enrique Camino Brent Gallery.
First terrorist attack of the Shining Path,
in Chuschi, Ayacucho.
Fernando Belande wins the presidential
elections.
Jorge Basadre dies.
1981
Macedonio de la Torre and Felipe Cossio
del Pomar die in Lima; Joaqun Lpez
Antay dies in Ayacucho.
E.P.S. Huayco conducts surveys of aesthetic preferences in the historic center
of Lima and the district of Miraflores.
They paint murals at the District Council
of Vitarte, with references to the Cromotex workers strike.
Opening of El perfil de la mujer peruana
1980-1981.
Opening of La Araa Gallery.
First Latin American Symposium on
non-objectual art, organized by Juan
Acha in Medellin.
1982
The sculptor Cristina Glvez dies.
Helmut J. Psotta, Sergio Zevallos and
Ral Avellaneda form an experimental
workshop in Chaclacayo, Lima.
Quzpez Asin obtains the Teknoqumica
Painting Prize.
The magazine U-tpicos is launched.
The Shining Path assaults the Huamanga
prison. The department of Ayacucho is
declared in state of emergency.
1983
Carlos Quzpez Asin dies.
I Biennial of Contemporary Art of Trujillo,
organized by Ofelia Cerro and Gerardo
Chvez.
Carlos Enrique Polancos first solo show
in Lima.
Associated Visual Artists (AVA), an institution directed by Ana Mara de la
Fuente, Lucy Angulo and Rosario Luza, is
created.
The Shining Path kills over sixty farmers
in the village of Lucanamarca.
Confrontation between the Republican
Guard and Shining Path prisoners at El
Frontn prison.
Local authorities of La Quinua, in Ayacucho, resign due to terrorist threats.
Eight journalists are killed by peasants in
Uchuraccay, Ayacucho.
Chabuca Granda dies in Miami.
1984
Tilsa Tsuchiya and the art critic Edgardo
Prez Luna die.
Chaclacayo group exhibition Per un
sueo (Peru... a dream) at the Museo de
Arte de Lima.
Herbert Rodrguez and Armando Williams
organize a mail-art exhibition at the Old
House of the University of San Marcos.
Appearance of Los Bestias group, formed
by students from the Faculty of Architecture at the Ricardo Palma University.
Enrique Polanco, Charo Noriega and
Armando Williams leave the country.
The photographer Herman Schwarz
makes the series Vctor Humareda.
The Shining Path kills over a hundred
peasants in Soras, Ayacucho. This department suffers a violent military crackdown.
Prison riot in El Sexto penitentiary.
Emergence of the terrorist group Tpac
Amaru Revolutionary Movement (MRTA).
Closing of La Prensa newspaper.
1985
Camilo Blas dies in Lima.
II Biennial of Trujillo.
Eduardo Tokeshi begins his Banderas
(flags) series.
388
1986
Vctor Humareda dies.
Thomas and Helga Mller found the
Social Photography Workshops (TAFOS)
in El Augustino, Lima, and Ocongate,
Cuzco.
Exhibitions of Carlos Chino Domnguez
and Emilio Rodrguez Larran.
Tola wins first prize at the II Havana
Biennial.
1987
The Ocongate and Ayaviri workshops of
TAFOS are awarded the Casa de las
Amricas Photographic Essay Prize, in
Cuba, and Mother Jones prize, in USA,
respectively.
III Biennial Trujillo.
Group show Algo va a pasar (Something
is about to happen), curated by Gustavo
Buntinx at the Cultural Center of the
Municipality of Miraflores.
The government intends to nationalize
the banks.
Walter Alva and his team discover the
tomb of the Lord of Sipan.
1988
Teodoro Nez Ureta dies.
Solo shows by Eduardo Tokeshi, Jaime
Higa and Jorge E. Eielson.
Silva Meinel publishes El libro de los
encantados (The book of the enchanted),
photographs of Andean religious holidays.
The collective Taller NN is formed, with
members Alfredo Mrquez, Enrique
Wong, lex ngeles and Jos Luis Garca.
They produce Carpeta Negra (Black
folder).
Massacre in Cayara, Ayacucho, perpetrated by an army detachment in
response to a terrorist ambush.
Opening of the Peoples Markets.
The Minister of Economy, Abel Salinas,
announces an economic package that
devalues the new currency.
1989
Espejos con memoria (Mirrors with
memory), TAFOS exhibition at the RivaAgero Institute.
I Photo Biennial of Arequipa.
Chaclacayo group migrates and presents
exhibitions in Germany.
Jaime Higa wins the IV ICPNA National
Painting Salon.
1990
Sabino Springett is awarded the Teknoqumica Painting Prize.
Building of the headquarters of the
Banco de Crdito del Per designed by
Arquitectonica.
Desatorador (Plunger), performance by
Emilio Santisteban in state offices in
Lima.
Alberto Fujimori defeats Mario Vargas
Llosa in the presidential elections.
Juan Carlos Hurtado Miller, Minister of
Economy, announces a radical restructuring of prices that devalues the currency
(the Fujishock).
1991
II Biennial of Photography of Arequipa
The Nuevo Sol replaces the Inti as currency.
Barrios Altos massacre, perpetrated by
the paramilitary group Colina.
1992
Solo exhibitions by Jos Tola, Elio Martucelli and Piero Quijano.
Fujimori announces the dissolution of the
legislative and judicial powers.
Terrorist attacks in Channel 2 TV station,
and in Tarata Street, Miraflores.
Murder of nine students and a professor
after a military intervention in the
Enrique Guzmn y Valle University (La
Cantuta).
The Shining Path murders Mara Elena
Moyano, a community leader of Villa El
Salvador.
Capture of Abimael Guzmn and of the
Shining Paths leadership.
1993
Adolfo Winternitz dies in Lima.
III Biennial of Photography of Arequipa.
Elections for the Democratic Constituent
Congress, which drafts a new constitution.
1995
ngel Chvez dies.
La Cantuta, artistic intervention by
Ricardo Wiesse in the Cieneguilla ravine.
La peregrinacin del Qollor Ritti (The
pilgrimage Qollor Ritti), exhibition by
Silva Meinel in New York.
Cenepa War between Peru and Ecuador.
The Itamaraty Peace Treaty is signed.
Reelection of Alberto Fujimori.
Government intervention of the University of San Marcos and the Enrique
Guzman University.
1996
David Herskowitz obtains the Teknoqumica Painting Prize.
Exhibitions at the Museo de Arte de
Lima: retrospective of Carlos Revilla and
Documentos: tres dcadas de la
fotografa en el Per (1960-1990) (Documents: three decades of photography in
Peru).
The MRTA takes the Japanese Ambassadors residence in Lima.
1997
I Ibero-American Biennial of Lima, organized by the Visual Arts Center of the
Municipality of Lima.
Fernando Bryce starts his series
Cronologas (Chronologies).
Photographer Jorge Heredias Ritual is
published.
The installation La fuente de Ameles (The
fountain of Ameles), by Juan Enrique
Bedoya, is presented at the VI Havana
Biennial.
Peru reenters the Andean Community.
The operation Chavn de Huantar frees
1998
Jos Tola is given the Teknoqumica
Painting Prize.
I National Biennial of Lima. Silvia Westphalen, Luis Garca-Zapatero, Mao Artiaga, Juan Enrique Bedoya and Juan
Pacheco receive prizes.
Retrospective exhibitions of Srvulo Gutirrez and Ramiro Llona at the Museo de
Arte de Lima.
Historia (History), second solo show by
Flavia Gandolfo.
Fire at the Municipal Theater of Lima.
1999
II Ibero-American Biennial of Lima.
Urban interventions in Lima by the collective La Perrera, formed by Natalia
Iguiiz and Sandro Venturo.
Placement of the final markers in the
Peru-Ecuador border.
Peru withdraws from the Inter-American
Court of Human Rights.
2000
Gerardo Chvez wins the Teknoqumica
Painting Prize.
II National Biennial of Lima. Fernando
Bryce, Jano Cortijo, Christian Flores, Luz
Letts and Giuliana Migliori win prizes.
The Sociedad Civil collective organizes
the action Lava la bandera (Wash the
flag).
Second reelection of Fujimori.
Alejandro Toledo calls for the Marcha de
los Cuatro Suyos in opposition to the
government.
Dissemination of videos of Vladimiro
Montesinos and his network of corruption.
Fujimori travels to Tokyo and resigns by
fax. Valentn Paniagua, president of
Congress, provisionally assumes the
Presidency of the Republic.
BIBLIOGRAFA
LIBROS,
FOLLETOS Y
CATLOGOS
Abril, Xavier, Jean Cassou, Csar Vallejo,
et al. Juan Devscovi - Xavier Abril. Catlogo de exposicin. Pars: Association
Pars - Amrique Latine, noviembre de
1927.
Acha, Juan. Art in Latin America Today.
Peru. Washington, D.C.: Pan American
Union, 1961.
___. Nuevas tendencias en la plstica
peruana. Catlogo de exposicin. Lima:
Universidad Nacional Mayor de San
Marcos, 1968.
___. El arte en el siglo XX. En Vicente
Gesualdo, ed., Enciclopedia del Arte en
Amrica, tomo II, pp. 349-369. Buenos
Aires: Editorial Omeba, 1969.
Acha, Juan y Juan Ros. Srvulo. Catlogo de exposicin. Lima: Instituto de
Arte Contemporneo, 1961.
Bacacorzo, Xavier. Vinatea Reynoso [sic.]
y otros hitos para un gran arte nacional.
Lima: Ediciones Palabra & Fuego, 1966.
Basadre Grohmann, Jorge, et al. La exposicin de la industria minera en el Centenario de Ayacucho. Documentos oficiales.
Catlogo de exposicin. Lima: Imp. Torres
Aguirre, 1925.
Bayn, Damin (relator). Amrica Latina
en sus artes. Mxico: UNESCO, Siglo XXI
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Pachas, Sofa. Luis S. Ugarte y la Sociedad de Bellas Artes del Per. Lima: Seminario de Historia Rural Andina - Universidad Nacional Mayor de San Marcos, 2007.
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Varnedoe, Kirk. Contemporary Explorations. En William Rubin, ed. Primitivism in 20th Century Art. Affinity of the
Riva-Agero, Jos de la. Escritos polticos. Obras completas. Vol. XI. Lima: Pontificia Universidad Catlica del Per,
1975.
Romn, lida. Tefilo Castillo 1857-1922.
Catlogo de exposicin. Lima: Asociacin
Cultural Peruano Britnica, 2008.
Sabogal, Jos. Mates burilados. Arte
vernacular peruano. Buenos Aires: Editorial Nova, 1945.
___. Pancho Fierro; estampas del pintor
peruano. Buenos Aires: Editorial Nova,
1945.
___. El toro en las artes populares del
Per. Lima: Ministerio de Educacin,
Museo de la Cultura Peruana, Instituto de
Arte Peruano, 1949.
___. El kero. Vaso de libaciones cuzqueo de madera pintada. Lima: Ministe-
Tribal and the Modern, vol. 2, pp. 661685. Catlogo de exposicin. Nueva York:
Museum of Modern Art, 1984.
PUBLICACIONES
PERIDICAS
La inauguracin. Actualidades, Lima, III,
n. 138 (18 de noviembre de 1905): [12-18].
Sabogal y una escuela peruana de pintura. Semanario Peruano 1949, Lima, III,
n. 9 (28 de febrero de 1949): 22.
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___. Martn Chambi, artista neoindgena. Excelsior, Lima, XIV, ns. 185-186
(agosto - setiembre 1948): 17.
1936, p. 9.
de 1906): 29-30.
396
___. La pintura se fue a la feria. Happening vs bienal. Oiga, Lima, n. 197 (28 de
octubre de 1966): 22, 36.
___. El debate sobre pintura: carta del
Sr. Juan Ros R.. La Prensa, Lima, 10 de
junio de 1951, p. 9.
___. Balance de una polmica: cuatro
preguntas fundamentales. Caretas,
Lima, II, n. 10 (julio de 1951): 17-18.
___. Exposicin de Srvulo en el Instituto de Arte. El Comercio, Lima, 15 de
octubre de 1961, p. 14.
___. Polmica sobre el homenaje a
Srvulo: Juan Ros responde a Juan
Ugarte Elspuru, Juan Manuel. La pintura peruana en los ltimos diez aos.
Fanal, Lima, XVI, n. 60 (1961): 13-19.
CRDITOS FOTOGRFICOS
AN/O PASADO
398
Miguel A. Lpez
fig. 97-98, p. 337.
Alfredo Mrquez.
fig. 57, p. 56 / fig. 68, p. 77 / figs. 69-71, p. 81.
Ricardo Montoya.
fig. 85, p. 327.
Juan Pablo Murrugarra.
p. 155.
Museo de Arte de Lima.
foto 1 / foto 2 / foto 3 / fig. 2, p. 3 / fig. 5, p. 4 /
fig. 8, p. 6 / fig. 10, p. 8 / figs. 28-29, p. 28 /
fig. 34, p. 31 / fig. 40, p. 34 / p. 109 / p. 113 /
p. 115 / p. 153 / pp. 172-173 / p. 177 / p. 183 /
p. 199 / p. 205 / p. 209 / p. 221 / p. 227 / p. 237 /
p. 265 / p. 289 / p. 291 / p. 297 / p. 305 / p. 311 /
fig. 74, p. 316 / fig. 75, p. 317 / fig. 80, p. 322 /
fig. 96, p. 335 / fig. 103, p. 341 / fig. 104, p. 343.
Musuk Nolte.
contracartula / foto 5 / foto 6.
Guillermo Orbegoso.
fig. 62, p. 69.
Herbert Rodrguez.
fig. 78, p. 319.
Marianne Ryzek.
fig 61, p. 62.
Hugo Vsquez.
p. 247.
Armando Williams.
fig. 63, p. 69.
Krzysztof Zielinski.
p. 287.
Foto 4:
Vista de la exposicin Dilogos en
la coleccin de arte contemporneo
del MALI. Adquisiciones y donaciones
2009-2010. Museo de Arte de Lima,
2010-2011.
Fotos 5-6:
Vistas de la exposicin MALI
Contemporneo. Adquisiciones y
donaciones 2008.
Museo de Arte de Lima, 2008-2009.
Contracartula:
Vista de la instalacin Los errantes
sedentarios de Alberto Casari con
Eva Pest. Programa de comisiones MALI
in situ. Museo de Arte de Lima, 2011
400