- Art History, Art, Contemporary Art, Art Theory, Fine Arts, Architecture, and 12 morePhotography, Modernism (Art History), Arte Popular, Peruvian Painting 20th Century, Instituto de Arte Peruano, José Sabogal, Teófilo Castillo, Luis Astete y Concha, Peruvian Portrait, History, Sociology, and Latin American Artedit
- Fernando Villegas received his PhD in History of Art from the Complutense University in Madrid, Spain. His dissertati... moreFernando Villegas received his PhD in History of Art from the Complutense University in Madrid, Spain. His dissertation was entitled Vínculos artísticos entre España y Perú (1892-1929): elementos para la construcción del imaginario nacional peruano (2013). Previously, he obtained a Master’s Degree in History and History of Art from the Universidad Nacional Mayor de San Marcos (UNMSM) in Lima, Peru. He has followed several advanced courses and internships. He was an education intern at the Royal Museum of Fine Arts (KMSKA) at Antwerp, Belgium, in 2002, focusing on museology and cultural tourism. In Madrid, Spain, he followed the specialist course Las fuentes españolas en el arte virreinal. As a curator of the art museum department of the UNMSM in Lima, he was responsible for the portrait collection at that institution. He has also worked as a researcher at the Museo Nacional de la Cultura Peruana in Lima, which operates under the supervision of the Ministry of Culture of Peru. He has published extensively on Peruvian art history of the 19th and 20th century and, to a lesser extent, on Peruvian folk art and Peruvian Baroque painting. He is the author of the book El Perú a través de la pintura y crítica de Teófilo Castillo (2006). He currently works as an independent researcher and is assistant professor at the Pontificia Universidad Catolica del Peru (Master of Art History and Curatorship) and at the UNMSM (PhD in Art History).edit
La Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) comenzó sus funciones en 1919; no obstante, su creación se realizó un año antes durante el segundo Gobierno de José Pardo y Barreda (1915-1919) con el nombre... more
La Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) comenzó sus funciones en 1919; no obstante, su creación se realizó un año antes durante el segundo Gobierno de José Pardo y Barreda (1915-1919) con el nombre de Escuela Nacional de Bellas Artes (ENBA). Los artistas nacionales Daniel Hernández (1856-1932) y José Sabogal (1888-1956) fueron los primeros directores de la institución entre los años de 1919 y 1943, años que nos interesa analizar para resaltar dos aspectos que evidenciaron las enseñanzas de los artistas maestros mencionados anteriormente: el proceso pedagógico y las características formales de la producción artística de los alumnos. Además, entender la institucionalidad artística; es decir, las actividades artísticas realizadas en distintos períodos que sirvieron para consolidar a la Escuela y, por tanto, a las artes en el país. Palabras claves: Escuela Nacional de Bellas Artes, José Sabogal, Daniel Hernández, Institucionalidad...
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El presente ensayo propone un estudio del primer taller de pintura al aire libre en Lima que tuvo entre sus integrantes a pintoras mujeres. En este espacio, si bien se siguieron las enseña nzas del maestro Teófilo Castillo, pronto las... more
El presente ensayo propone un estudio del primer taller de pintura al aire libre en Lima que tuvo entre sus integrantes a pintoras mujeres. En este espacio, si bien se siguieron las enseña nzas del maestro Teófilo Castillo, pronto las pintoras manifestaron sus lenguajes artisticos en la incursión del retrato simboli sta . La introducción del paisajismo de carácter naturalista reveló un primer avance hacia el desarrollo de la plástica peruana.
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The Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) started its activities in 1919; however, its creation took place one year earlier during the second Government of José Pardo y Barreda (1915-1919) under the name of... more
The Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) started its activities in 1919; however, its creation took place one year earlier during the second Government of José Pardo y Barreda (1915-1919) under the name of Escuela Nacional de Bellas Artes (ENBA). The national artists Daniel Hernández (1856-1932) and José Sabogal (1888-1956) were the first directors of the institution between 1919 and 1943,years that we are interested in analyzing in the present essay to highlight two aspects that marked the teachings of these previously mentioned artists: the pedagogical process and the formal characteristics of the artistic production of the students. In addition, to understand the artistic institutionality; that is to say, the artistic activities carried out in different periods that served to consolidate the School and, therefore, the arts in the country.
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Participación de pintores latinoamericanos en el Gabinete Maldoror en 1926 y su relación con Van Ostaijen.
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Crónica sobre la exposición Redes de Vanguardia: Amauta y América Latina 1926-1936 presentada en el Museo Reina Sofía de Madrid, España
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Se busca estudiar los referentes artísticos de César Moro y la importancia de su obra en el desarrollo del arte peruano. Sabemos que Moro conoció la propuesta simbolista legada por José María Eguren, además de familiarizarse con el... more
Se busca estudiar los referentes artísticos de César Moro y la importancia de su obra en el desarrollo del arte peruano. Sabemos que Moro conoció la propuesta simbolista legada por José María Eguren, además de familiarizarse con el psicoanálisis en Lima antes de su viaje a París, donde se encontrará con el grupo surrealista. Será en la década de los veinte que manifestará una propuesta vinculada a la abstracción y la geometría cubista. Otro punto importante de este artículo es explorar la identidad de Moro a través de su arte y su propia representación: retratos y fotografías. En ambos evidencia correspondencia tanto en cómo asume ser representado y en cómo realiza sus obras.
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Abstract: From the 17 th century on, Spanish Golden Age painting became a key component in the construction of national identity in the Viceroyalty of Peru. Artists in Lima embraced trends from Peninsular Spain in order to differentiate... more
Abstract: From the 17 th century on, Spanish Golden Age painting became a key component in the construction of national identity in the Viceroyalty of Peru. Artists in Lima embraced trends from Peninsular Spain in order to differentiate themselves from the Cuzco School of painting, and pictures by Murillo, Zurbaran, or Velasquez gained great prestige in the country. During the 19 th century, art and antiques collecting flourished in Lima. Meanwhile, different attempts to raise social awareness about the conservation of national heritage were made, denouncing thefts and upholding the preservation of artistic collections. Such was the case regarding the one amassed by Manuel Ortiz de Zevallos, which could have ranked among the best art galleries in South America today.
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El siguiente artículo propone entender la relación de José Carlos Mariátegui con las vanguardias artísticas europeas. Veremos como en su crítica de arte evidenció una preferencia por el análisis ideológico por encima del análisis formal.... more
El siguiente artículo propone entender la relación de José Carlos Mariátegui con las vanguardias artísticas europeas. Veremos como en su crítica de arte evidenció una preferencia por el análisis ideológico por encima del análisis formal. Fue por ello que le dio su apoyo a José Sabogal y su proyecto peruano mestizo a pesar que este manifestaba en los aspectos formales características anteriores a la vanguardia artística.
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This article discusses the art projects, cultural activities and museum content on show in the Peruvian Pavilion (Pabellón Peruano) at the Exposición de Sevilla (1929). Our aim is to clarify the diversity and complexity of Peruvian art at... more
This article discusses the art projects, cultural activities and museum content on show in the Peruvian Pavilion (Pabellón Peruano) at the Exposición de Sevilla (1929). Our aim is to clarify the diversity and complexity of Peruvian art at a time when artists were concerned with defining a precolumbian, indigenous, mestizo or hispanist identity. The Pavilion is a prime example of collaborative work by Spanish and Peruvian artists and constitutes their main legacy in forging a complex identity such as the Peruvian.
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Siguiendo las pautas del filósofo español José Ortega y Gasset se propone en este artículo un estudio de las generaciones de los plásticos peruanos durante el siglo XIX y las dos primeras décadas del siglo XX de acuerdo a los temas de... more
Siguiendo las pautas del filósofo español José Ortega y Gasset se propone en este artículo un estudio de las generaciones de los plásticos peruanos durante el siglo XIX y las dos primeras décadas del siglo XX de acuerdo a los temas de identidad local, los géneros artísticos y su relación con el arte peruano.
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The aim of the following study is to trace the evolution of ideological approaches to popular Peruvian art. This evolution started in the 1920s in a period defined by its principal creator and promoter, painter José Sabogal, as mestizo.... more
The aim of the following study is to trace the evolution of ideological approaches to popular Peruvian art. This evolution started in the 1920s in a period defined by its principal creator and promoter, painter José Sabogal, as mestizo. In this first period the most important item was artistic analysis of Andean cultural products. By contrast, in the seventies, when the popular artist Joaquín López Antay was awarded the Prize for Art by Peruvian National Institute for Culture, popular art and its artists were seen as being political tools.
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This essay seeks to investigate the iconography of José de San Martín (1778-1850) as shown in his portrayal by Peruvian and foreign painters and sculptors. We see how these artists acknowledged San Martín as the one who proclaimed the... more
This essay seeks to investigate the iconography of José de San Martín (1778-1850) as shown in his portrayal by Peruvian and foreign painters and sculptors. We see how these artists acknowledged San Martín as the one who proclaimed the independence of Peru. This rhetorical aspect was the key element that distinguished him and this same element would later be appropriated by Augusto B. Leguía (1863-1932), when the latter one associated himself with the figure of San Martín and proclaimed himself the founder of the “Patria Nueva”.
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This article investigates the first outdoor studio of plein air painting in Lima, Peru, which had between its participating members a large number of women painters. At first these students followed quite rigidly the instructions of their... more
This article investigates the first outdoor studio of plein air painting in Lima, Peru, which had between its participating members a large number of women painters. At first these students followed quite rigidly the instructions of their teacher, the painter Teófilo Castillo, but gradually they developed their own artistic modes of expression, with the creation of Symbolist portraits. The introduction of plein air landscape painting in Lima was a first step in the development of modern Peruvian painting.
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Introducción del libro César Moro obra plástica
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The present study examines the connection between Spanish and Peruvian art, primarily painting and sculpture, between the years 1892 and 1929. The initial year was chosen specifically because right at that time a number of Peruvian... more
The present study examines the connection between Spanish and Peruvian art, primarily painting and sculpture, between the years 1892 and 1929. The initial year was chosen specifically because right at that time a number of Peruvian painters belonging to the so-called “second generation” received their academic training in Europe (Paris and Madrid). We refer to artists like Carlos Baca Flor, Luis Astete y Concha, Daniel Hernández and Teófilo Castillo. The final year of our investigation saw the construction of the Peruvian Pavillion at the Exposición Iberoamericana in Seville, which can be understood as a kind of culmination of the artistic period under discussion. This exhibition, in which all Latin American nations participated, was the ultimate expression of the intricate cultural and economic relationships Spain still maintained with its former viceroyalties. The global economic crisis of 1929 and the Spanish Civil War in its aftermath put an abrupt end to this process of rapprochement.
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El propósito del presente ensayo es analizar cómo la representación visual del indio fue vista desde la mirada incaísta y cómo dichas representaciones no superaron el pasado dicotómico de origen virreinal.
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El el presente artículo se destaca la participación de Teófilo Castillo como fotográfo en el ámbito artístico nacional
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A retrospective that pays tribute to the legacy of monumental sculpture of Miguel Baca Rossi (1917-2016). The exhibition presents his artistic career from two perspectives: his creative qualities highlighting the movement, the expressive... more
A retrospective that pays tribute to the legacy of monumental sculpture of Miguel Baca Rossi (1917-2016). The exhibition presents his artistic career from two perspectives: his creative qualities highlighting the movement, the expressive figurative character, the monumentality and his use of the nude genre in his art, and on the other hand, the artist as the author of the national imaginary of Peruvian history, expressed in public monuments and an alternative costumbrismo that privileged the city of Chiclayo, where he was born. Baca Rossi studied sculpture under the direction of José Sabogal while studying Medicine at the same time, an experience that gave him the knowledge of the anatomical characteristics of the human body.
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En el presente artículo me interesa ver cómo el arte del Perú Antiguo fue una fuente de inspiración para los artistas peruanos del siglo XX, el cual estuvo relacionado con su contexto y con los nuevos descubrimientos que se daban en las... more
En el presente artículo me interesa ver cómo el arte del Perú Antiguo fue una fuente de inspiración para los artistas peruanos del siglo XX, el cual estuvo relacionado con su contexto y con los nuevos descubrimientos que se daban en las distintas disciplinas como la arqueología y la etnografía.
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La propuesta del estudio de la identidad peruana a través de las pinturas de José Sabogal y sus discípulos ha cometido el error de clasificarlas como pintura indigenista. En este artículo nos proponemos revisar las fuentes bibliográficas... more
La propuesta del estudio de la identidad peruana a través de las pinturas de José Sabogal y sus discípulos ha cometido el error de clasificarlas como pintura indigenista. En este artículo nos proponemos revisar las fuentes bibliográficas escritas que vinculan la obra del pintor y sus discípulos con la pintura indigenista. Frente a esta categoría proponemos una nueva visión para clasificarlas como pintura peruana mestiza por ser este último aspecto el más importante proyecto de identidad.
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Entrevista a cuatro historiadores sobre que personaje histórico debiera ser representado en el espacio público peruano
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Review
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Reseña del libro: Vinculos artísticos entre España y Perú. Elementos para la construccion del imaginario nacional peruano.
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Reseña del libro Cesar Moro, Obra plástica, Academia Peruana de la Lengua