Modernism Final Flashcards by nadiah fellah

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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Rufino Tamayo
Still-Life
1928
Mexico
Contemporaneo

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

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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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Rufino Tamayo
Illustration from
Best Method
1923
Mexico
Best Method

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María Izquierdo
Altar for the Dead
1943
Mexico
Contemporaneo

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Origenes, 1945/ 1953

Cuban vanguard (2nd gen.)/
 Magical Realism

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Rufino Tamayo
Glorification of Zapata
1935
Mexico
Contemporaneo

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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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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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Amelia Peláez
Two Sisters Reading
1944

Cuban vanguard (2nd gen.)/
 Magical Realism

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María Izquierdo
The Jewelry Box
1942
Mexico
Contemporaneo

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Benito Quinquela Martín
Activity at La Boca
1935
Argentina
Social Realism

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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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Rufino Tamayo
Mandolins and Pineapples
1930
Mexico
Contemporaneo

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María Izquierdo
Acrobatic Dogs
1939
Mexico
Contemporaneo

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María Izquierdo
Bridal Veil
1943
Mexico
Contemporaneo

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

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

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

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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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María Izquierdo
Circus Rider
1932
Mexico
Contemporaneo

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María Izquierdo Good Friday Altar 1943 Mexico Contemporaneo

José Sabogal Ccolla Indian c.1926 Peru Indigenismo

Rufino Tamayo Animals 1941 Mexico Contemporaneo

José Sabogal José Carlos Mariátegui 1947 Peru Indigenismo

María Izquierdo Spring 1943 Mexico Contemporaneo

Amautu, 1926 Peru Indigenismo - where Mariategui's concept of the Andean vanguard plays out - Covers of Amauta: images more graphic and geometric

Rufino Tamayo Dog Barking at the Moon 1942 Mexico Contemporaneo

Rufino Tamayo Still-Life with Foot 1928 Mexico Contemporaneo

Rufino Tamayo Girl with Mandolin 1941 Mexico Contemporaneo

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)

José Sabogal India of the Callao, Cuzco 1925 Peru Indigenismo

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

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

Rufino Tamayo Frutero y dominó 1928 Mexico Contemporaneo

Amelia Peláez Interior with Columns 1951 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

Camilo Egas Indian Head 1926 Ecuador Indigenismo

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

María Izquierdo Cupboard with Sugar-Covered Candies 1946 Mexico Contemporaneo

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

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

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)

Eduardo Kingman The Coal Merchant 1934 Ecuador Indigenismo - Syndicate of Ecuadorian Writers launches indigenismo movement

Wifredo Lam Illustrations for André Breton’s Fata Morgana 1941 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

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

María Izquierdo Motherhood 1943 Mexico Contemporaneo

Amelia Peláez Marpacífico (Hibiscus) 1936 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

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

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

José Sabogal Indian Mayor of Chincheros: Varayoc 1925 Peru Indigenismo - Looking at Laso; Mariategui champions

Víctor Manuel Landscape nd Cuban Vanguard

Víctor Manuel Gypsy in the Forest nd Cuban vanguard

María Izquierdo Horse /Actor 1940 Mexico Contemporaneo

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

Rufino Tamayo Factory 1925 Mexico Estridentismo

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

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

Carlos Enriquez Abduction of the Mulattas 1938 Cuban vanguard/ Grupo Miniorista - “Romanvero guajiro” series, of Creole or peasant ballads

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

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

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

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

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

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

María Izquierdo Offering to Our Lady of Sorrows 1943 Mexico Contemporaneo

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

Eduardo Kingman The Ferrymen (Los Balseros) 1934 Ecuado Indigenismo

María Izquierdo Grown Wheat 1940 Mexico Contemporaneo

José Sabogal Huanca Indian 1934 Peru Indigenismo

Rufino Tamayo Monument to Juárez 1932 Mexico Contemporaneo

Wifredo Lam The Jungle 1943 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

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

José Gil de Castro The Martyr Olaya 1823 Peru Costumbrisme - Precedent for Sabogal

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

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

Wifredo Lam Self Portrait in Kimono 1937 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

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

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)

Lasar Segall Vendors on Boats 1927 Brazilian vanguard/ Social Realism

Camilo Egas Indian Head 1926 Ecuador Indigenismo

Lasar Segall Street in Mangue 1926 Brazilian vanguard/ Social Realism

María Izquierdo Dream and Premonition 1947 Mexico Contemporaneo

Antonio Berni The Open Door 1932 Argentina Social Realism - Berni associated with Grupo de Paris, many want to link AG forms with social concerns

Amelia Peláez Two Sisters 1944 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

Rufino Tamayo The Bird Charmer 1945 Mexico Contemporaneo

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

José Sabogal Portrait of an Indigenous man 1925 Peru Indigenismo

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

Adolfo Bellocq Beggars 1925 Argentina Social Realism

Rufino Tamayo New York from the Roof Garden 1937 Mexico Contemporaneo

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

Cândido Portinari Fresco Panel: Cocoa Ministry of Education and Health Rio de Janeiro 1938-45 Brazilian vanguard/ Social Realism - Government commission, relations to muralism

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

Wifredo Lam Woman Holding Her Hair 1939 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

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

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

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

Víctor Manuel Adolescent nd Cuban vanguard

María Izquierdo The Racket 1938 Mexico Contemporaneo

Wifredo Lam Motherhood in Green 1942 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

Wifredo Lam Femme 1942 ``` Cuban vanguard (2nd gen.)/ Magical Realism ```

Rufino Tamayo The Punters 1941 Mexico Contemporaneo

Rufino Tamayo Chapel in Oaxaca 1920 Mexico Open-air school

Oswaldo Guayasamín Execution by a Firing Squad 1943

Rufino Tamayo Red Nude (María Izquierdo) 1930 Mexico Contemporaneo

María Izquierdo Mournful Altar 1946 Mexico Contemporaneo

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

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

Rufino Tamayo Woman Spinning Wool 1943 Mexico Contemporaneo

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

Lasar Segall Head of a Black Man 1929 Brazilian vanguard/ Social Realism - painted while in Paris

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

Lasar Segall Figures against Hills 1924 Brazilian vanguard/ Social Realism

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

Carlos Enriquez in US/ Europe

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

Mariategui in Europe

1920-24

Modernism Final Flashcards

(119 cards)