Contents
Academic literature on the topic 'Painting, Latin American'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Painting, Latin American.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Painting, Latin American"
1
Schettino, Paulo Braz Clemencio. "El dia que me quieras." Revista FAMECOS 18, no. 3 (2011): 685. http://dx.doi.org/10.15448/1980-3729.2011.3.10377.
Full textAbstract:
As lembranças que restaram amarelecidas e transformadas pelo decurso do tempo na memória consciente a partir da experiência de espectador das artes sonoras e imagéticas da pintura, do teatro, da música e do cinema sobre as questões da latinidade nas Américas em confronto com a vivência de idêntica problemática política nos dias atuais – 30 anos depois. Revisitação de um tempo passado em busca de sua atualidade, e análise comparada de quatro textos de categorias diferentes, abrigados sob um mesmo título – El Dia Que Me Quieras – em exercício de intertextualidade. A pesquisa que antecedeu o presente texto pretende ao menos compreender e se possível lançar luz sobre a questão da América Latina, Latinidade e Latino-americanos. Palavras-chave: América Latina; Colonialismo; Latinidade. “The day that you love me” Abstract: The memories that remain yellowed and turned the course of time in conscious memory from the viewing experience of sound and image arts of painting, theater, music and film on the issues of Latin civilization in the Americas in comparison with the experience of similar political issue today – 30 years later. A visitation of time spent in search of his current and comparative analysis of four texts of different categories, sheltered under the same title – El Dia Que Me Quieras – intertextuality in exercise. The research that preceded the present text intends to at least understand and can shed light on the question of Latin American, Latina and Latino Americans. Keywords: Latin America; Colonialism; Latinity.
2
Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
Full textAbstract:
This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
3
Frick, María. "Expresionismo del Sur: hacia la definición de un arte propio." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 86–97. http://dx.doi.org/10.31381/illapa.v0i16.2586.
Full textAbstract:
ResumenBasados en el supuesto de que los artistas latinoamericanos participaron del movimiento expresionistainternacional, se utiliza un enfoque de análisis formal para identificar los elementos plásticos quecaracterizan a este cuerpo de obras en términos de la representación de los temas y su contenido expresivo. Para este propósito se ha considerado una serie de obras reconocidas, donde se aplica la categorización propuesta por Amalia Polleri, María Rovira y Brenda Lissardo (1993), como una primera aproximación necesaria, cuyas conclusiones –lejos de generar deducciones irrevocables– permitan bosquejar un campo de estudio que pueda ser abordado con mayor profundidad en futuras investigaciones.Palabras clave: pintura, expresionismo, América Latina, elementos plásticos, análisis formal, paisaje nacional.
 AbstractBased on the assumption that Latin American artists participated in the international expressionistmovement, a formal analysis approach is used to identify plastic elements that characterize this body of artworks in terms of their thematic representation and expressive content. For this purpose, a series of recognized works has been considered, where the categorization proposed by Amalia Polleri, María Rovira and Brenda Lissardo (1993) is applied, as a necessary first approximation, whose conclusions -far from generating irrevocable deductions- allow to sketch a field of study that can be approached with greater depth in future investigations.Keywords: painting, expressionism, Latin America, plastic elements, formal analysis, national
4
García-Bucio, María Angélica, Edgar Casanova-González, José Luis Ruvalcaba-Sil, Elsa Arroyo-Lemus, and Alejandro Mitrani-Viggiano. "Spectroscopic characterization of sixteenth century panel painting references using Raman, surface-enhanced Raman spectroscopy and helium-Raman system for in situ analysis of Ibero-American Colonial paintings." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 20160051. http://dx.doi.org/10.1098/rsta.2016.0051.
Full textAbstract:
Colonial panel paintings constitute an essential part of Latin-American cultural heritage. Their study is vital for understanding the manufacturing process, including its evolution in history, as well as its authorship, dating and other information significant to art history and conservation purposes. Raman spectroscopy supplies a non-destructive characterization tool, which can be implemented for in situ analysis, via portable equipment. Specific methodologies must be developed, comprising the elaboration of reference panel paintings using techniques and materials similar to those of the analysed period, as well as the determination of the best analysis conditions for different pigments and ground preparations. In order to do so, Raman spectroscopy at 532, 785 and 1064 nm, surface-enhanced Raman spectroscopy (SERS) and a helium-Raman system were applied to a panel painting reference, in combination with X-ray fluorescence analysis. We were able to establish the analysis conditions for a number of sixteenth century pigments and dyes, and other relevant components of panel paintings from this period, 1064 nm Raman and SERS being the most successful. The acquired spectra contain valuable specific information for their identification and they conform a very useful database that can be applied to the analysis of Ibero-American Colonial paintings. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
5
Carrizosa-Moog, Jaime, Rūta Mameniškienė, and Kristijonas Puteikis. "Painting epilepsy – The essence of disease by participants of the Latin American Summer School on Epilepsy (LASSE XIII)." Epilepsy & Behavior 104 (March 2020): 106878. http://dx.doi.org/10.1016/j.yebeh.2019.106878.
Full text
6
Sundusiah, Suci. "MEMAHAMI REALISME MAGIS DANARTO DAN MARQUEZ." LINGUA: Journal of Language, Literature and Teaching 12, no. 1 (2015): 123–36. http://dx.doi.org/10.30957/lingua.v12i1.76.
Full textAbstract:
Begun as a theme of painting art, magical realism exists as a typical place in litarature. The works of magical realism literature efforts to appear magical aspects such as superstition, beliefs, folklor and spiritual substance exceding from the logic into reality of daily lifes. The substance of the magic is integrated in the accepted traditions and cultures. This article analyzes short stories of Danarto and a novel of Marquez. Both aouthors are selected as they represent pionneers of writing style of magical realism from two different cultures. Both authors express the same writing style, but their patterns of rhetoric differ. Danarto focuses on the magical realism of religion, sufism and Javanese cultures, combining magical realism with surealism styles. In addition, Marquez brings readers to the structure of Latin American society that produces unpredictable magical cultures.
7
Cruz Fajardo, Yulli Marley. "Fernando Botero and the theme of violence in Colombian art." Культура и искусство, no. 12 (December 2021): 66–80. http://dx.doi.org/10.7256/2454-0625.2021.12.35556.
Full textAbstract:
The subject of this research is the theme of violence in Colombia in the works of the Colombian artist Fernando Botero, mainly of the XX century. Attention is given to determination of the prerequisites for the emergence of the theme of violence in his painting. For this purpose, analysis is conducted on the indirect presence of this theme in Botero’s works since the very beginning of his career to paintings of mature and later periods. It is demonstrated that the artist approached the reflection of the theme of violence from different perspectives, depicting massacres, tortures, death, and involuntary relocation. The article employs the method based on iconographic analysis of the artist’s works, as well as artistic and stylistic analysis. The scientific novelty lies in examination of the topic relevant to the culture and history of the Latin American country, revealed in the works of Fernando Botero, who distanced himself from comprehension of art as resistance throughout his entire career. The author concludes that the Botero’s paintings may be called a form of depicting the slaughterous history of the country, without adherence of the painter to any political or party ideology. The manner used by Botero in the series “Violence in Colombia” is identical the artist resorts to throughout his career, which leads to distortion and caricaturing of the artistic form, in combination with the tragedy of storylines, which aggravates the dramatic character of the chosen themes. The works of Botero of the late XX century are of invaluable cultural value for Colombia.
8
Grigore, Rodica. "Clarice Lispector, Agua Viva: Autobiography, Exile, Violence." Sæculum 48, no. 2 (2019): 73–82. http://dx.doi.org/10.2478/saec-2019-0032.
Full textAbstract:
AbstractConsidered “the great witch of Brazilian literature”, acclaimed as the best woman-writer of Jewish origin and the perfect example of an exquisite reconfiguration of European modernist ideas, Clarice Lispector is a fascinating author. This is obvious since her first novel Perto do coração selvagem (Near to the Wild Heart, 1943), a book that was awarded several literary prizes in Brazil, even if afterwards the text would be often ignored within the critical studies dedicated to Lispector. Compared to Borges and Kafka and even to the narrative strategies used by Virginia Woolf (apparently influenced by James Joyce’s stream of consciousness, even if Lispector underlined that she had not read Joyce’s creation much later) her book entitled Agua viva (1973) represents a perfect example of a very special kind of aesthetic experiment, underlying the importance of art (painting or literature) in its protagonist’s life. Without being precisely an autobiography, this book is obviously influenced by the author’s life and work, also expressing Lispector’s ideas on two important issues of 20th century Latin American literature: exile and violence.
9
Garay, Urbi, Gwendoline Vielma, and Edward Villalobos. "Art as an investment alternative: the case of Argentina." Academia Revista Latinoamericana de Administración 30, no. 3 (2017): 362–82. http://dx.doi.org/10.1108/arla-08-2016-0226.
Full textAbstract:
Purpose The purpose of this paper is to present the formulation of the first exhaustive price index for Argentinian (and other Latin American countries) visual artists using 5,069 works sold in auctions by 71 Argentinian artists during the years 1980-2014. Design/methodology/approach The authors estimated a regression of hedonic prices using the ordinary least squares method. When the regression was run and the results were analysed, the authors then estimated the annual price index of Argentinian artists’ work to then compare them with different financial and economic variables. Findings The average annual nominal arithmetic rate of return in dollars for Argentinian art during this period was 6.81 per cent, with a 29.11 per cent standard deviation. Argentinian art shows a low correlation with Argentinian and US companies’ shares and a slightly negative correlation with US bonds. This is the reason for artworks to be included in investors’ portfolios despite the relatively high volatility. Research limitations/implications Valuating works of art in Argentina can be explained by a series of their attributes. The benefits of art as an investment should be contrasted with factors including illiquidity and high transaction costs that are inherent when investing in works of art. Practical implications Argentinian artists’ works have higher prices when, ceteris paribus, they are dated; they are auctioned in either Christie’s, Sotheby’s, Galería Arroyo, Roldan & Cia, Meeting Art, or Naon & Cia; they are oil or acrylic paintings; they are larger in size – although the price increase is decreasing when the size of the painting increases; and when the artist dies before their work is auctioned. Originality/value This work presents the first rigorous price index of Argentinian artists’ works. Additionally, and as far as the authors have been able to observe, the time-period in this article is the longest that has been used in studies on art as an investment in emerging markets.
10
Boone, M. Elizabeth. "“A renewal of the fraternal relations that shared blood and history demand”: Latin American Painting, Spanish Exhibitions, and Public Display at the 1910 Independence Celebrations in Argentina, Chile, and Mexico." RACAR : Revue d'art canadienne 38, no. 2 (2013): 90. http://dx.doi.org/10.7202/1020796ar.
Full text