Colombia en los años treinta – El caso de (original) (raw)

The Mexican Assimilation: Colombia in the 1930s - The case of Ignacio Gómez Jaramillo

Historia Y MEMORIA, 2013

During the 1930s in Colombia, artists such as Ignacio Gómez Jaramillo, took Mexican muralism as an important part of their careers thus engaging with public art for the first time in the country. In 1936, Gómez Jaramillo travelled to Mexico for two years in order to study muralism, to learn the fresco technique and to transmit the Mexican experience of the open-air-schools. Gómez Jaramillo returned to Colombia in 1938 and in 1939 painted the murals of the National Capitol. Although Gómez Jaramillo’s work after 1939 is well known, his time in Mexico has been barely studied and very few scholars have analyzed the artist’s work in light of his Mexican experience. While in Mexico, Gómez Jaramillo joined the LEAR (La Liga de Escritores y Artistas Revolucionarios) with whom he crated the murals of the Centro Escolar Revolución. These murals depict politically engaged images that, apparently, little had to do with his more historical work back in Colombia. This text proposes a careful read...

La Asimilación Mexicana: Colombia en los años treinta – El caso de Ignacio Gómez Jaramillo

Durante la década de los treinta, artistas como Ignacio Gómez Jaramillo tomaron el muralismo mexicano como una parte importante de sus carreras y así mismo doptaron la iniciativa de realizar por primera vez en Colombia arte público. En 1936 Gómez Jaramillo viajó a México durante dos años con el in de estudiar el muralismo, aprender la técnica del fresco y transmitir la experiencia mexicana de las escuelas de pintura al aire libre. Gómez Jaramillo regresó a Colombia en 1938 y en 1939 pintó los murales del Capitolio Nacional. Aunque el trabajo de Gómez Jaramillo después de su regreso a Colombia es bien conocido, su tiempo en México ha sido escasamente explorado y pocos historiadores han analizado el trabajo del artista a la luz de su experiencia mexicana. Durante su estadía en México, Gómez Jaramillo se incorporó al grupo de la LEAR (La Liga de Escritores y Artistas Revolucionarios) con la cual creó los murales en el Centro Escolar Revolución (CER). Estos murales son imágenes políticamente comprometidas que aparentemente poco tendrían que ver con su trabajo más histórico a su regreso a Colombia. Este texto propone una revisión cuidadosa al trabajo del artista en el CER y una relectura de los murales del Capitolio Nacional a la luz de una visión más politizada.

Franco-The Politics of Abstraction in Colombian Art during the Cold War

New Geographies of Abstract Art in Postwar Latin America, 2019

In 1958 Colombian artist Eduardo Ramírez Villamizar (1922-2004) was commissioned to execute the most ambitious public artwork to date in modern Colombia: El Dorado, a golden monumental mural relief for the new International Style headquarters of the Banco de Bogotá (see fig. 9.1). The commissioners must have found the vast golden surface of the mural particularly fitting for conjuring the wealth to be stored in the bank's vaults. More significantly, its non-objective composition, which reflected international trends in geometric abstraction, was especially well suited to embody the ideals of modernization and internationalism that the bank's new building aspired to convey. Soon after, Ramírez Villamizar's mural reliefs became a staple of corporate commissions for public art and his smaller reliefs received prizes and were widely celebrated in local and international artistic circles. A year later, German-born Colombian artist Guillermo Wiedemann (1905-1969) also embarked on an exploration of abstraction. But instead of developing a practice based on the rational and ordered structures of geometry, he developed a language composed of disordered splotches of color, stains, loose brushstrokes, and gestural marks. By 1963, Wiedemann had used gestural abstraction to produce a series of assemblages from discarded materials and trash-such as scraps of metal, rags, torn

The role of Muralism in the construction of Latin American nations

This paper aims to respond how muralism as a visual expression could transmit political ideas for the construction of a national identity in Latin American countries. In that sense, in the first part of the analysis it is briefly explained the importance of the construction of a “nation” for Latin American countries. In addition, the text points out the significance of art in that process of self-affirmation. Thereby, it is develop the relevance of art as an instrument for social change, which can be understood as an “art of compromise”. Then, attention is centered in Muralism as an inclusive and popular artwork that has particular characteristics which allows the artist to promote political ideas. Moreover, the paper remarks the origin of Muralism in México. In this context it is mandatory to talk about the political ideas and consequent programme carried out by José Vasconcelos. Regarding that, the paper explains the role of Vasconcelos in the construction of pillars that sustain the development of the muralist movement: an artistic and political project borned in Mexico but then expanded through the rest of Latin American countries until today. Finally the paper argues that this artistic movement, Muralism, which started as a political project to create national identity, was converted in a regional movement that creates also bases for a Latin American identity. Facultad Latinoamericana de Ciencias Sociales (FLACSO) Sede Académica Argentina. Global Studies Programme Department: Culture & identity in Latin America “Latin American Social Ideas"

Mexican Muralism: A Critical History

Alejandro Anreus, Robin Adele Greeley, Leonard Folgarait, eds., Mexican Muralism: A Critical History (University of California Press, 2012)

In this comprehensive collection of essays, three generations of international scholars examine Mexican muralism in its broad artistic and historical contexts, from its iconic figures—Diego Rivera, José Clemente Orozco, and David Alfaro Siquieros—to their successors in Mexico, the United States, and across Latin America. These muralists conceived of their art as a political weapon in popular struggles over revolution and resistance, state modernization and civic participation, artistic freedom and cultural imperialism. The contributors to this volume show how these artists’ murals transcended borders to engage major issues raised by the many different forms of modernity that emerged throughout the Americas during the twentieth century.

El arte mural de las estaciones de trenes subterráneos de Buenos Aires en la década de 1930

2012

En Buenos Aires, dentro del conjunto de murales que se pintaron en la década del treinta, sobresale el extenso programa iconográfico del subterráneo de la Compañía Hispano Argentina de Obras Públicas y Financiera (CHADOPyF), hoy líneas C, D y E. Allí se representaron paisajes españoles en la C, la primera en ser construida; y los hitos históricos y costumbres argentinas en la D y la E. Estas obras murales, por su alto grado de exposición a la mirada del público general, transformaron espacios concurridos de la ciudad y representaron intereses políticos que nos proponemos explorar, tanto desde el comitente, como del artista plástico. ¿Cuál fue el criterio que guió la elección de los temas a representar? Planteado así el problema, el propósito de este texto es analizar el programa iconográfico de los murales cerámicos que se pintaron en las estaciones del subterráneo de Buenos Aires en la década de 1930, así como intentar explicar porqué se seleccionaron dichas imágenes. Para ello se tendrá como marco la sociología del arte, con la intención de no perder de vista las condiciones sociales de producción de estas obras de arte como así también la función social que se pensó para ellas. Palabras clave: Muralismo, Buenos Aires, Arte Público, Representaciones