Oswaldo Guayasamin is the most important Ecuadorian painter of the 20th century. His art in his own words was highly compromised with his political and social views, but that did not adversely affect the symbolic and emotional depth his work carries. One of this artist biggest concerns was the treatment of his fellow indigenous tribes that still live mostly in the Sierra and Oriental regions of Ecuador. His series La Edad de la Ira reflects that concern with an eclectic use of art technics, strongly appealing to the viewers’ sensitivity to Indians plights and suffering. This essay will start by giving a brief biography of the artist and his work, a short introduction to the communist and Indigenismo movement in Latin America, followed by a study of the paintings, and a comparison analysis with The Scream of Nature by Edvard Munch, Guernica by Pablo Picasso, Man, Controller of the Universe by Diego Rivera, and La Trinchera by Jose Manuel Orozco
Oswaldo Guayasamin was born in Quito, Ecuador on the 6th of July, 1919. His father was a native of Quechua ascendency and his mother was a mestiza. Jose Miguel, his father, worked as a carpenter, truck and taxi driver; his mother, Dolores Calero, owned a small shop and died at a young age, an event that would later inspire a series from the artist. The family was always poor even by Ecuadorian standards, as his father had difficulty holding a steady job. He was the oldest of ten children and from an early age showed flashes of his artistic capabilities, drawing caricatures of his friends and teachers since he was eight years old. When he was about ten, his father brought some pre-Hispanic vases he had found while working at a construction site in Latacunga, Ecuador, this would spark h...
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Guayasamin, O., & Neruda, P. (2006). America, my brother, my blood: a Latin American song of
suffering and resistance. America, mi hermano mi sangre, un canto latinoamericano de
dolor y resistencia. Melbourne, Vic.: Ocean Press.
Mella, J. S., Jáuregui, C. A., Fischer, E. F., Guayasamín, O. (2008). Of rage and redemption: The
art of Oswaldo Guayasamín. Nashville, Tenn: Center for Latin American and Iberian
Studies at Vanderbilt University and the Vanderbilt University Fine Arts Gallery.
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Raul Ramirez is a very confident, creative student that is in Mr.Ward’s high school english class in The Bronx,New York, who loves to paint. Raul used to paint his sister by bribing her with whatever he could scunge up,but know his girlfriend just sits for him. He knows that painting will not give him much money and tells the readers by saying “People just don’t get it.Even if I never make a dime --which,by the way,ain’t gonna happen--I’d still have to paint.” Raul is also a very shy teenager that wants to be an artist and will be the first person in his family to be a painter if he becomes one. The thing is even though his “brothers” don’t support him--by laughing at him and saying he's loco-- he still wants to paint and says it by saying
... him and the second is a more direct discrimination of the native Andeans. The manuscript was addressed to the King of Spain, with the intention of seeking reformation of the Spanish colonial domination, to save Andean lives from exploitation and diseases. Felipe de Ayala's personal experiences during the colonial period as a Church servant, transform his believes, to realize that the Andean civilization and culture were at risk. These facts are widely portrayed in his vivid drawings as a medium full of colonial affairs. As a result of this inner awakening, he decides to dedicate the rest of his life to his people and become an activist of the colonial regime. Felipe Guaman Poma de Ayala illustrates desire for a reformation of the colonial system through an effective way of communicating his ideas, mostly through pictures, in his 1,200 letter to the King of Spain.
Through the study of the Peruvian society using articles like “The “Problem of the Indian...” and the Problem of the Land” by Jose Carlos Mariátegui and the Peruvian film La Boca del Lobo directed by Francisco Lombardi, it is learned that the identity of Peru is expressed through the Spanish descendants that live in cities or urban areas of Peru. In his essay, Mariátegui expresses that the creation of modern Peru was due to the tenure system in Peru and its Indigenous population. With the analyzation of La Boca del Lobo we will describe the native identity in Peru due to the Spanish treatment of Indians, power in the tenure system of Peru, the Indian Problem expressed by Mariátegui, and the implementation of Benedict Andersons “Imagined Communities”.
Fernández, Roberta. "Abriendo Caminos in the Brotherland: Chicana Writers Respond to the Ideology of Literary Nationalism." A Journal of Women Studies 14.2 (1994): 23-50. Web. .
In conclusion, through his mural paintings full with complexity and depth, Diego Rivera recreates a new reality for the audience. `Zapata con el caballo de Cortés` is one of his most influential art pieces , significant in the process of understanding The Mexican Revolution
Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously constructed borders, proving both problematic and a step in the right extremely ideal direction.
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
of the native tongue is lost , certain holidays may not be celebrated the same , and American born generations feel that they might have lost their identity , making it hard to fit in either cultures . Was is significant about this book is the fact it’s like telling a story to someone about something that happened when they were kid . Anyone can relate because we all have stories from when we were kids . Alvarez presents this method of writing by making it so that it doesn’t feel like it’s a story about Latin Americans , when
Latin American identity, something so simple yet so powerful, an idea that has caused numerous countries great political, cultural, and economical problems. Something that has been lost at times and forced back into play, an ongoing dream that has taken its toll on an entire continent. In Calle 13’s song “Latinoamerica”, the idea of Latin American identity is portrayed through the thoughts of an actual Latin American. In this piece, Calle 13 brings up numerous issues occurring in todays Latin America. It is a manifest against great economic instability in Latin America, ongoing political issues, and what true Latin American identity means. Calle 13 brings these points up with great precision, for example “Soy una fábrica de humo, mano de obra
The astonishingly brilliant artist Francisco José de Goya y Lucientes has always been revered and adored for his incredible paintings of the Spanish Royal family, but not many know that he was also a masterful engraver. In the exhibit titled Renaissance to Goya: Prints and Drawings from Spain, many of the pieces displayed were based on social commentary of the period within the country. This disdain is particularly palpable in the etching by Goya titled The Sleep of Reason Produces Monsters. The psychological and emotional state of Goya at the time is masterfully rendered and the presentation of the exhibit is absolutely remarkable due to its brilliant color scheme and expert presentation of the works.
Pablo Picasso is one of the most famous and well-documented artists of the twentieth century. Picasso, unlike most painters, is even more special because he did not confine himself to canvas, but also produced sculpture, poetry, and ceramics in profusion. Although much is known about this genius, there is still a lust after more knowledge concerning Picasso, his life and the creative forces that motivated him. This information can be obtained only through a careful study of the events that played out during his lifetime and the ways in which they manifested themselves in his creations (Penrose).
Diego Rivera was deemed the finest Mexican painter of the twentieth century; he had a huge influence in art worldwide. Rivera wanted to form his own painting fashion. Although he encountered the works of great masters like Gauguin, Renoir, and Matisse, he was still in search of a new form of painting to call his own (Tibol, 1983). His desire was to be capable of reaching a wide audience and express the difficulties of his generation at the same time, and that is exactly what h...
Oct. 29: Puerto Rican Music Between Rafael Hernandez and Rafael Cortijo. Guest Lecture by Prof. Lise Waxer, Music Dept., Trinity College
Each one, despite being fiction, is a painting of his experiences, and the cultures of Buenos Aires. Among his themes are myths passed down through the families in his country. I thought that the stories that were contained in this collection were very educational. When finally taking a minute to analyze, and find deeper meaning to the tales, I discovered that they all posses what he has known in his life. He is easily distinguishable in his works.
Pablo Neruda is from Chile and gives a voice to Latin America in his poetry (Bleiker 1129). “The United Fruit Co.,” the poem by Pablo Neruda that will be analyzed in this essay, is enriched with symbolism, metaphors, and allusions. These allusions have great emphasis to the Christian religion, but some allusions are used to evoke negative emotions towards the United States (Fernandez 1; Hawkins 42). Personification and imagery along with onomatopoeia and metonymy are also found in “The United Fruit Co.” Neruda’s use of these literary devices makes his messages of imperialism, Marxism, and consumerism understandable (Fernandez 4). In this essay each of these literary devices with its proper meaning will be further analyzed in the hope of achieving a more complex understanding of Neruda’s message.