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Latin America Art > Modernism Final > Flashcards

Modernism Final Flashcards

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1
Q
A

Lasar Segall
Favela
1930
Brazilian vanguard/ Social Realism

  • painted after the revolution in Brazil and imposition of Vargas who takes over; a difficult time due to economic depression, Vargas turned into a conservative dictator
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2
Q
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Rufino Tamayo
Still-Life
1928
Mexico
Contemporaneo

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2
Q
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María Izquierdo
La Dolorosa (Virgin of Sorrows)
1947
Mexico
Contemporaneo

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3
Q
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Camilo Egas
Ecuadorian Festival
New School for Social Research (NYC)
1932
Ecuador
Indigenismo

o Michele Grete has written on it
o Corpus Christi costumes, visualization of the amalgam and the clash between religious traditions of natives and aggressors, and the syncretic combination of them—this account for the uneasy tension represented in the darkness
o Figural distortion of figures
o Empty spaces emphasize marginalization, peripheralitiy
o IN 20th century Indian groups would use the festival to occupy the plaza of the town, hurl rocks and objects—it’s a subversive action on the part of the locals

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3
Q
A

Rufino Tamayo
Illustration from
Best Method
1923
Mexico
Best Method

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3
Q
A

María Izquierdo
Altar for the Dead
1943
Mexico
Contemporaneo

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3
Q
A

Origenes, 1945/ 1953

Cuban vanguard (2nd gen.)/
 Magical Realism
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4
Q
A

Rufino Tamayo
Glorification of Zapata
1935
Mexico
Contemporaneo

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5
Q
A

Antonio Berni
Self-Portrait with Cactus
1934
Argentina
Social Realism

  • Berni associated with Grupo de Paris, many want to link AG forms with social concerns
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6
Q
A

Cândido Portinari
Mestizo
1934
Brazilian vanguard/ Social Realism

  • deals with national ethos/ identity
  • heroic indigenous figure pushed up to picture plane, Renaissance type portrait composition, his place of labor in the background
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6
Q
A

Amelia Peláez
Two Sisters Reading
1944

Cuban vanguard (2nd gen.)/
 Magical Realism
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7
Q
A

María Izquierdo
The Jewelry Box
1942
Mexico
Contemporaneo

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8
Q
A

Benito Quinquela Martín
Activity at La Boca
1935
Argentina
Social Realism

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8
Q
A

Francisco Laso
The Indian Potter
(Inhabitant of the Cordillera)
1855
Peru
Costumbrista

  • Natalia Majluf: Relationship between sitter (contemporary indian) and object (Moche, of prisoner) an allegory for the position of the Indian at the time
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8
Q
A

Rufino Tamayo
Mandolins and Pineapples
1930
Mexico
Contemporaneo

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8
Q
A

María Izquierdo
Acrobatic Dogs
1939
Mexico
Contemporaneo

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8
Q
A

María Izquierdo
Bridal Veil
1943
Mexico
Contemporaneo

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9
Q
A

Eduardo Abela
First Exhibition of New Art
March, 1927
Cuban Vanguard/
Grupo Miniorista

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11
Q
A

Víctor Manuel
Girl with a Red Apple
c. 1940

  • repeats this theme over and over, in a ¾ pose, bust painting, most often clothed, against natural landscape, submissive/ passive figures with melancholic expression, evoke racial mixing
  • Gauguin, primitivism
  • sexualized female figure standing in for the nation, readily available for our gaze
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11
Q
A

Lasar Segall
Interior of Poor People II
1921
Brazilian vanguard/
Social Realism

  • Issues of marginality came into his own conception and experience of Brazil
  • an interior of a typical cramped and squalor space in re-light district neighborhood
  • A small-scale etching, influenced by expressionism and experiences in Germany
  • Also sets up the idea of him as an “explorer”—play on windows, doors, and accessibility to an underworld, whether allowed or denied, and access to space and bodies of the prostitutes
  • Interior/ exterior an overarching theme (clothed/ not clothed; insider/ outsider)
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12
Q
A

María Izquierdo
Still-life with Camera
1931/2
Mexico
Contemporaneo

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13
Q
A

Rufino Tamayo
Revolution
1938
Museum of Anthropology, Mexico City
Fresco
59 x 59 ft.
Mexico
Contemporaneo

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14
Q
A

Carlos Enríquez
Our Lady of El Cobre
c. 1933
Cuban vanguard/ Grupo Miniorista

  • loosely based on a popular national legend of a discovery of wooden statue in the Bay of Santiago del Cuba, in mining town they built a sanctuary to Virgin in Cobre—becomes national patron Saint of Cuba in 1935
  • tied to Yoruban dieties, especially Ochun, one associated with waters and rivers
  • Three fisherman in painting are Afro-Cuban, evoking this past of thinking of her alongside the cultures tied to Africa
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15
Q
A

María Izquierdo
Circus Rider
1932
Mexico
Contemporaneo

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15
Q
A

María Izquierdo
Good Friday Altar
1943
Mexico
Contemporaneo

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16
Q
A

José Sabogal
Ccolla Indian
c.1926
Peru
Indigenismo

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16
Q
A

Rufino Tamayo
Animals
1941
Mexico
Contemporaneo

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17
Q
A

José Sabogal
José Carlos Mariátegui
1947
Peru
Indigenismo

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18
Q
A

María Izquierdo
Spring
1943
Mexico
Contemporaneo

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19
Q
A

Amautu, 1926
Peru
Indigenismo

  • where Mariategui’s concept of the Andean vanguard plays out
  • Covers of Amauta: images more graphic and geometric
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20
Q
A

Rufino Tamayo
Dog Barking at the Moon
1942
Mexico
Contemporaneo

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21
Q
A

Rufino Tamayo
Still-Life with Foot
1928
Mexico
Contemporaneo

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21
Q
A

Rufino Tamayo
Girl with Mandolin
1941
Mexico
Contemporaneo

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22
Q
A

Lasar Segall
Ship of Emigrants
1939-41, 7 ½ x 9 feet
Brazilian vanguard/ Social Realism

  • When Segall returns in 1932 Fascism starts to take hold in Europe and in Brazilian context—leads to the artist’s ultimate disenfranchisement and his hopeful/ utopian view of Brazil to a desolate, depressing vision of the world, rooted on his own experiences (based on Jewish identity, empathy with Afro-Brazilian—talked about by Edith Gibson)
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23
Q
A

José Sabogal
India of the Callao, Cuzco
1925
Peru
Indigenismo

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24
Q
A

Amelia Peláez
The White Tablecloth
1935
Cuban vanguard (2nd gen.)/
Magical Realism

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26
Q
A

Revista de avance, 1927
Cuban Vanguard/
Grupo Miniorista
Revista de Avance a bi-monthly journal, lasted 4 years (1927-31), circulation around 3,000, among intellectual elite

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26
Q
A

Rufino Tamayo
Frutero y dominó
1928
Mexico
Contemporaneo

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26
Q
A

Amelia Peláez
Interior with Columns
1951

Cuban vanguard (2nd gen.)/
 Magical Realism
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27
Q
A

Camilo Egas
Indian Head
1926
Ecuador
Indigenismo

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27
Q
A

María Izquierdo
Pan de Muertos (Day of the Dead Bread)
1947
Mexico
Contemporaneo

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28
Q
A

María Izquierdo
Cupboard with Sugar-Covered Candies
1946
Mexico
Contemporaneo

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28
Q
A

Sketch for mural in staircase at Departamento Central del Distrito Federal
(Mexico City), 1945
Mexico
Contemporaneo

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30
Q
A

Antonio Berni
Tenant Farmers
1934
tempera on burlap, 6x10 feet
Argentina
Social Realism

  • third in series of large-scale
  • Shift in work from protest imagery to staid imagery, a collective portrait, agrarian solidarity
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31
Q
A

Cândido Portinari
Soccer
1935
Brazilian vanguard/ Social Realism

-deals with the migration of rural inhabitants to cities in search of work—an image of a shantytown against images of modernity (ship and boat)

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32
Q
A

Eduardo Kingman
The Coal Merchant
1934
Ecuador
Indigenismo

  • Syndicate of Ecuadorian Writers launches indigenismo movement
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33
Q
A

Wifredo Lam
Illustrations for
André Breton’s
Fata Morgana
1941

Cuban vanguard (2nd gen.)/
 Magical Realism
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34
Q
A

Cândido Portinari
Coffee
Ministry of Education and Health
Rio de Janeiro
1938-45
Brazilian vanguard/ Social Realism

35
Q
A

María Izquierdo
Motherhood
1943
Mexico
Contemporaneo

36
Q
A

Amelia Peláez
Marpacífico (Hibiscus)
1936

Cuban vanguard (2nd gen.)/
 Magical Realism
37
Q
A

Eduardo Abela
The Mythical Rooster
c. 1928
Cuban vanguard/ Grupo Miniorista

  • rooster an important animal for Santaria rituals, meant to depict a religious ceremony done at night
38
Q
A

Camilo Egas
Porters Resting
1925
Ecuador
Indigenismo

o Paintings become darker, figural distortion which becomes an allegory for oppression of the Indian
o Contrasts with monumental and classicizing tendencies from 1922, slim and graceful
o Change influenced by Picasso, but also wants to speak differently about Indian and indigenous culture

39
Q
A

José Sabogal
Indian Mayor of Chincheros:
Varayoc
1925
Peru
Indigenismo

  • Looking at Laso; Mariategui champions
40
Q
A

Víctor Manuel
Landscape
nd
Cuban Vanguard

41
Q
A

Víctor Manuel
Gypsy in the Forest
nd
Cuban vanguard

42
Q
A

María Izquierdo
Horse /Actor
1940
Mexico
Contemporaneo

43
Q
A

Amelia Peláez
Marpacífico
1943
Cuban vanguard (2nd gen.)/
Magical Realism

44
Q
A

Rufino Tamayo
Factory
1925
Mexico
Estridentismo

45
Q
A

Carlos Enríquez
Happy Peasants
1938
Cuban vanguard/ Grupo Miniorista

o Dark, dramatic painting makes direct reference to social/ political conditions
o Campaign in poster, has picture of pig in suit and says ‘Vote’
o Ironic title, like Gattorno’s
o Exposes the corruption of state in Cuba at the time

47
Q
A

Antonio Gattorno
Women by the Lake
1927
Cuban Vanguard/ Grupo Miniorista

  • studied at Academy, studied in Europe, influenced by Chevon, classical route, return to order, Picasso and Rivera inspired his style; possible Monet–stylistic mix
48
Q
A

Carlos Enriquez
Abduction of the Mulattas
1938
Cuban vanguard/ Grupo Miniorista

  • “Romanvero guajiro” series, of Creole or peasant ballads
48
Q
A

Cândido Portinari
Coffee
1935
Brazilian vanguard/ Social Realism

  • a large-scale work, won 2nd prize at Carnegie International in 1945, made for export for international audience in order to represent the Brazilian nation
  • quotes Rivera and Muralism
50
Q
A

Eduardo Abela
Triumph of the Rumba
1928
Cuban vanguard/ Grupo Miniorista

  • part of “Afro-Cubana series” painted in Paris after Avance cover
  • surrealist montage of disparate elements evoking the triumph of Rumba, a local dance with roots in Africa, men wear the traditional white costumes and play drums, dance expressed not by 2 people dancing together, but foregrounds a mulatta figure that comes to symbolize dance and the nation—all set in exotic landscape
  • Inspired by Chagall (connections with marginality, mysticism)—departs from the usual influence of Picasso
51
Q
A

Víctor Manuel
Landscape
nd
Cuban Vanguard

  • trained with Romanach at the academy, had extended stays in Europe, saw work by Gauguin
  • Known for images of landscapes and women
  • paintings of outskirts of Havana, peripheral urban areas, more suburbs than rural
  • Style is impressionist/ Expressionism, loose brushwork
52
Q
A

Carlos Enriquez
Cuban Outlaw
1943
Cuban vanguard/ Grupo Miniorista

  • “Romanvero guajiro” series, historical precedents of abductions, like Delacroix’s
  • Male figures on horseback are known as mambises, roamed the countryside during wars of independence in 19th century, became heroic fighters of justice and sovereignty
54
Q
A

Lasar Segall
Mangue woman with Mirror
1926
Brazilian vanguard/ Social Realism

55
Q
A

Amelia Peláez
Fishes
1943

Cuban vanguard (2nd gen.)/
 Magical Realism
56
Q
A

María Izquierdo
Offering to Our Lady of Sorrows
1943
Mexico
Contemporaneo

58
Q
A

Lasar Segall
Banana Plantation
1927
Brazilian Vanguard/ Social Realism

  • one of more canonical works of artist
  • Face of an old, former slave, exaggerated features to convey his race (could be self-portrait)
  • Surrounded by greenery of plantation, small strip of sky at top
  • Body and nation and landscape conflated
  • Colors of Brazilian flag used excessively, codifying ‘Brazilian-ness’
  • Photographed himself standing in front of banana plants, possible that he is conflating the figure with himself (he’s light-skinned)
    • Other/ colonialism issues
  • Made this the year he becomes a Brazilian citizen
60
Q
A

Eduardo Kingman
The Ferrymen (Los Balseros)
1934
Ecuado
Indigenismo

61
Q
A

María Izquierdo
Grown Wheat
1940
Mexico
Contemporaneo

62
Q
A

José Sabogal
Huanca Indian
1934
Peru
Indigenismo

63
Q
A

Rufino Tamayo
Monument to Juárez
1932
Mexico
Contemporaneo

64
Q
A

Wifredo Lam
The Jungle
1943

Cuban vanguard (2nd gen.)/
 Magical Realism
66
Q
A

Oswaldo Guayasamín
The Strike
1938
Ecuador
Indigenismo

  • Michele Greet’s analysis
  • is anomalous, one of few politicized work, subsequently the artist moves away from works like it and becomes responsible for institutionalization of indigenismo
68
Q
A

José Gil de Castro
The Martyr Olaya
1823
Peru
Costumbrisme

  • Precedent for Sabogal
69
Q
A

Wifredo Lam
Malembo, God of the Crossroads
1943
Cuban vanguard (2nd gen.)/
Magical Realism

70
Q
A

Cândido Portinari
Fresco Panel: Brazilwood
Ministry of Education and Health
Rio de Janeiro
1938-45
Brazilian vanguard/ Social realism

71
Q
A

Wifredo Lam
Self Portrait in Kimono
1937

Cuban vanguard (2nd gen.)/
 Magical Realism
72
Q
A

Lúcio Costa and Oscar Niemeyer
(architects)
Cândido Portinari (tile mural)
Ministry of Education and Public Health
Rio de Janeiro
1936-43
Brazilian vanguard/ Modernism

73
Q
A

Cândido Portinari
Hill
1933
Brazilian vanguard/ Social Realism

-deals with the migration of rural inhabitants to cities in search of work—an image of a shantytown against images of modernity (ship and boat)

74
Q
A

Lasar Segall
Vendors on Boats
1927
Brazilian vanguard/
Social Realism

75
Q
A

Camilo Egas
Indian Head
1926
Ecuador
Indigenismo

76
Q
A

Lasar Segall
Street in Mangue
1926
Brazilian vanguard/ Social Realism

77
Q
A

María Izquierdo
Dream and Premonition
1947
Mexico
Contemporaneo

78
Q
A

Antonio Berni
The Open Door
1932
Argentina
Social Realism

  • Berni associated with Grupo de Paris, many want to link AG forms with social concerns
79
Q
A

Amelia Peláez
Two Sisters
1944

Cuban vanguard (2nd gen.)/
 Magical Realism
80
Q
A

Rufino Tamayo
The Bird Charmer
1945
Mexico
Contemporaneo

81
Q
A

Víctor Manuel
Tropical Gypsy
1929
Cuban Vanguard

  • landmark painting of the Cuban vanguard, depict his theme of women and ‘types’ or trope called gitana/ the gypsy; this one unique because background is quasi-urban
  • Described her as a mulatta, but with eyes of Indian from Peru
  • A hybrid figure for viewer’s consumption—a Cuban Madonna/ Mona Lisa
83
Q
A

José Sabogal
Portrait of an Indigenous man
1925
Peru
Indigenismo

85
Q
A

Lasar Segall
Red Hill
1926
Brazilian Vanguard/ Social Realism

o Red Hill Africanizes the figure of mother and child
o Marina and boat imagery very prevalent in his work, references the idea of diaspora, the primitive referenced, part of broader practice of constructing Brazilian types and themes based on racial types

86
Q
A

Adolfo Bellocq
Beggars
1925
Argentina
Social Realism

87
Q
A

Rufino Tamayo
New York from the
Roof Garden
1937
Mexico
Contemporaneo

89
Q
A

Diego Rivera
Friday of Sorrows on the Canal of Santa Anita
SEP, Court of Fiestas
1923-24
Mexico
Mexican Muralism

91
Q
A

Cândido Portinari
Fresco Panel: Cocoa
Ministry of Education and Health
Rio de Janeiro
1938-45
Brazilian vanguard/ Social Realism

  • Government commission, relations to muralism
92
Q
A

Rufino Tamayo
Naturaleza muerta con cabeza
(Retrato de mujer)
1932
Mexico
Contemporaneo

93
Q
A

Wifredo Lam
Woman Holding Her Hair
1939

Cuban vanguard (2nd gen.)/
 Magical Realism
95
Q
A

Antonio Berni
Unemployed
1934
Tempera on burlap, 7 x 10 feet
Argentina
Social Realism

97
Q
A

Antonio Gattorno
Do you want more coffee, Don Nicolás?
1936
Cuban vanguard/ Grupo Miniorista

o All figures very gaunt, implied they have no food, but do have coffee
o Only healthy one is the female figure, sexualized
o All mixed race figures

98
Q
A

Rufino Tamayo
Nature and the Artist: The work of art and the observer
Hillyer Art Library, Smith College
Northampton, MA
1943
Fresco on panel
9 ½ x 43 ½ ft.
Mexico
Contemporaneo

100
Q
A

Víctor Manuel
Adolescent
nd
Cuban vanguard

101
Q
A

María Izquierdo
The Racket
1938
Mexico
Contemporaneo

102
Q
A

Wifredo Lam
Motherhood in Green
1942

Cuban vanguard (2nd gen.)/
 Magical Realism
103
Q
A

Wifredo Lam
Femme
1942

Cuban vanguard (2nd gen.)/
 Magical Realism
105
Q
A

Rufino Tamayo
The Punters
1941
Mexico
Contemporaneo

106
Q
A

Rufino Tamayo
Chapel in Oaxaca
1920
Mexico
Open-air school

107
Q
A

Oswaldo Guayasamín
Execution by a Firing Squad
1943

108
Q
A

Rufino Tamayo
Red Nude (María Izquierdo)
1930
Mexico
Contemporaneo

109
Q
A

María Izquierdo
Mournful Altar
1946
Mexico
Contemporaneo

110
Q
A

Cândido Portinari
Coffee Plantation Laborer
1939
Brazilian vanguard/ social realism

  • shows figure with hand-held tool rather than mechanical tools, a trope of social realism, elevates and ennobles the laborer and marginal population, shown in contrapposto, coffee plantation also a loaded site
111
Q
A

David Alfaro Siqueiros with Antonio Berni, Lino Spilimbergo, et. al.
Plastic Exercise
Home of Natalio Botana
Buenos Aires
1933
Argentina
Social Realism/ Mexican Muralist

112
Q
A

Rufino Tamayo
Woman Spinning Wool
1943
Mexico
Contemporaneo

113
Q
A

Eduardo Abela
Guajiros
1938
Cuban vanguard/ Grupo Miniorista

  • manifesto painting, mostly male, rural peasants, gathered for a leisurely Sunday afternoon, gathered in conversation, holding a rooster
  • female figure represented as Taino
  • peasants are mixed race, volumetric
  • shown domesticating horse, allegory of taming land
  • bohios, typical of Cuban countryside
114
Q
A

Lasar Segall
Head of a Black Man
1929
Brazilian vanguard/ Social Realism

  • painted while in Paris
115
Q
A

Antonio Berni
Public Demonstration
1934
Tempera on burlap, 6x10 feet
Argentina
Social Realism

116
Q
A

Lasar Segall
Figures against Hills
1924
Brazilian vanguard/ Social Realism

117
Q
A

Eduardo Kingman
Los Guandos (The Burden Carriers)
1941
Ecuador
Indigenismo

  • Works focus on LABOR
  • a scene of indigenous figures hauling large rocks down slope of volcano to sell at market
  • Composition centrifugal, supervisory figure at top, figures below, becomes cyclical, represents the cycle of history
118
Q

Carlos Enriquez in US/ Europe

A

Philadelphia: 1925 (marries Alice Neel)

Europe: 1930-34 (Surrealism)

Aranda-Alvarado PhD Diss (2001): Explores guajiro as icon of Cuban identity; how imagery anti-imperialist (primitive+modern); guajiro+mulatta=mestizaje/ embodiment of Cuban identity

119
Q

Mariategui in Europe

A

1920-24

Latin America Art (3 decks)

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