Preamble
For your convenience I have listed below all posts in this series:
Arte Latino Textiles
Arte Latino Prints
Arte Latino Sculptures - Part I
Arte Latino Sculptures - Part II
Arte Latino Paintings - Part I
Arte Latino Paintings - Part II
Arte Latino Paintings - Part I [1]
Title: Where Tears Can't Stop (1986).
Artist: Carlos Alfonzo (1950-1991).
Technique and Materials: Acrylic on canvas.
Size: 243.2 (high) x 325.8 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase made possible by the American Art Forum.
Comment[1]: In 1980, Carlos Alfonzo was among the many Cuban émigré who departed by boat from Mariel Harbor to come to the USA. In this large energetic painting, Alfonzo has included symbols from Santería - a religion the blends Roman Catholic and African spiritual traditions - alongside those of the Tarot and Rosicrucian mysticism. This visual hybrid of cultural beliefs and symbols suggests martyrdom and sacrifice. Indeed, Alfonzo's expressive, even painful image could be read as apocalyptic.
Title: Homage to Still Life (1986).
Artist: Carlos Almaraz (1941-1989)
Technique and Materials: Oil on canvas.
Size: 182.9 (high) x 275 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Smithsonian American Art Museum.
Comment[1]: Carlos Almaraz is described as a "painterly painter" whose works are rich in thick, sensuous pigment. In "Homage to Still Life", Almaraz has combined still life elements of bottles, wine goblets, and fruit with female models and sculpture atop a pedestal, evoking the traditional studio space of the artist.
Title: Sueño (Dream: Eve before Adam) (1992).
Artist: Alfredo Arreguín (1935 - ).
Technique and Materials: Oil on canvas.
Size: 183.5 (high) x 366.4 cm (wide).
Note: A detailed section of the work.
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase made possible through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program.
Comment[1]: No comment provided on the author and artwork.
Title: Somos La Luz (We are the light) (1992).
Artist: Charles "Chaz" Bojórquez (1949 - ).
Technique and Materials: Oil, aluminium paint, and aluminium leaf on canvas.
Size: 183.5 (high) x 366.4 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchased made possible through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program.
Comment[1]: No comment provided on the author and artwork.
Title: San Juan Nepomuceno (Saint John Nepomuk) (ca. 1798).
Artist: José Campeche (1751-1809).
Technique and Materials: Oil on canvas.
Size: 106.1 (high) x 74.9 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Teodoro Vidal Collection.
Comment[1]: In the fourteeth century, John Nepomuk was the confessor to Queen Johanna of Bohemia. Her husband, King Wenceslaus IV, ordered the confessor killed when he refused to break the seal of confession and divulge the queen's secrets. He was canonized as a saint in 1729. José Campeche was the most significant Puerto Rican painter of portraits and religious imagery. Of African-Caribbean ancestry he was the son of a slave who purchased his freedom. Although basically self-taught, he was influenced by exiled Spanish court painter, Luis Paret Alcázar who lived in Puerto Rico from 1775 through to 1778.
Title: Humanscape 141: Barrio Dog (1987).
Artist: Mel Casas (1929-1987).
Technique and Materials: Acrylic on canvas.
Size: 190.5 (high) x 254 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase through the Luisita L. and Franz H. Denghausen Endowment.
Comment[1]: In the mid-1960s, the surreality of projected images on large drive-in screen prompted Casas to begin a series he calls Humanscape. These large paintings use a movie-theatre format to critique and counter powerful media images from cinema, television and advertisements.
In this dazzling painting a large black dog from the Barrio growls at the viewer. With its full bristling coat, wide round eyes, and sharp white teeth, it spews spittle in all directions and emits bowguau, bilingual bark.
Title: Señor Presidente's Wake.
Artist: Alfredo Ceibal (1952 - ) (section view).
Technique and Materials: Acrylic on canvas.
Size: Not given.
Courtesy: Smithsonian American Art Museum.
Acquisition: Catherine Walden Myer Endowment, the Luisita L. and Franz H. Denghausen Endowment, and the Acquisitions Gift Fund.
Comment[1]: No comment given.
Reference:
[1] J. Yorba, Arte Latino: Treasures from the Smithsonian American Art Museum, Watson-Guptill Publications, New York (2001).
For your convenience I have listed below all posts in this series:
Arte Latino Textiles
Arte Latino Prints
Arte Latino Sculptures - Part I
Arte Latino Sculptures - Part II
Arte Latino Paintings - Part I
Arte Latino Paintings - Part II
Arte Latino Paintings - Part I [1]
Artist: Carlos Alfonzo (1950-1991).
Technique and Materials: Acrylic on canvas.
Size: 243.2 (high) x 325.8 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase made possible by the American Art Forum.
Comment[1]: In 1980, Carlos Alfonzo was among the many Cuban émigré who departed by boat from Mariel Harbor to come to the USA. In this large energetic painting, Alfonzo has included symbols from Santería - a religion the blends Roman Catholic and African spiritual traditions - alongside those of the Tarot and Rosicrucian mysticism. This visual hybrid of cultural beliefs and symbols suggests martyrdom and sacrifice. Indeed, Alfonzo's expressive, even painful image could be read as apocalyptic.
Artist: Carlos Almaraz (1941-1989)
Technique and Materials: Oil on canvas.
Size: 182.9 (high) x 275 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Smithsonian American Art Museum.
Comment[1]: Carlos Almaraz is described as a "painterly painter" whose works are rich in thick, sensuous pigment. In "Homage to Still Life", Almaraz has combined still life elements of bottles, wine goblets, and fruit with female models and sculpture atop a pedestal, evoking the traditional studio space of the artist.
Artist: Alfredo Arreguín (1935 - ).
Technique and Materials: Oil on canvas.
Size: 183.5 (high) x 366.4 cm (wide).
Note: A detailed section of the work.
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase made possible through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program.
Comment[1]: No comment provided on the author and artwork.
Artist: Charles "Chaz" Bojórquez (1949 - ).
Technique and Materials: Oil, aluminium paint, and aluminium leaf on canvas.
Size: 183.5 (high) x 366.4 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchased made possible through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program.
Comment[1]: No comment provided on the author and artwork.
Artist: José Campeche (1751-1809).
Technique and Materials: Oil on canvas.
Size: 106.1 (high) x 74.9 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Teodoro Vidal Collection.
Comment[1]: In the fourteeth century, John Nepomuk was the confessor to Queen Johanna of Bohemia. Her husband, King Wenceslaus IV, ordered the confessor killed when he refused to break the seal of confession and divulge the queen's secrets. He was canonized as a saint in 1729. José Campeche was the most significant Puerto Rican painter of portraits and religious imagery. Of African-Caribbean ancestry he was the son of a slave who purchased his freedom. Although basically self-taught, he was influenced by exiled Spanish court painter, Luis Paret Alcázar who lived in Puerto Rico from 1775 through to 1778.
Artist: Mel Casas (1929-1987).
Technique and Materials: Acrylic on canvas.
Size: 190.5 (high) x 254 cm (wide).
Courtesy: Smithsonian American Art Museum.
Acquisition: Museum purchase through the Luisita L. and Franz H. Denghausen Endowment.
Comment[1]: In the mid-1960s, the surreality of projected images on large drive-in screen prompted Casas to begin a series he calls Humanscape. These large paintings use a movie-theatre format to critique and counter powerful media images from cinema, television and advertisements.
In this dazzling painting a large black dog from the Barrio growls at the viewer. With its full bristling coat, wide round eyes, and sharp white teeth, it spews spittle in all directions and emits bowguau, bilingual bark.
Artist: Alfredo Ceibal (1952 - ) (section view).
Technique and Materials: Acrylic on canvas.
Size: Not given.
Courtesy: Smithsonian American Art Museum.
Acquisition: Catherine Walden Myer Endowment, the Luisita L. and Franz H. Denghausen Endowment, and the Acquisitions Gift Fund.
Comment[1]: No comment given.
Reference:
[1] J. Yorba, Arte Latino: Treasures from the Smithsonian American Art Museum, Watson-Guptill Publications, New York (2001).
No comments:
Post a Comment