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Pedro Querejazu

(b La Paz, 1933).

Bolivian sculptor. He taught himself to sculpt by studying Pre-Columbian sculpture and ceramics. Between 1959 and 1961 he traveled in several Latin American countries; he then lived in Europe for twelve years, working in the Netherlands, Belgium, France, and Switzerland. While in Europe he married the Swiss sculptor Francine Secretan, with whom he returned to Bolivia in 1974, settling in La Paz. In 1964 he was awarded the first “Queen Elizabeth” prize in the 10th International Sculpture Biennale in Brussels. Carrasco’s preferred materials were stone and bronze. His subject matter was based on the knowledge of the age-old traditions of native peoples and on their relation to nature, although his work is modernist in appearance. His earliest works represent seated women and later the munachis, or love and fertility amulets. In the early 1970s his art became more synthetic, more cryptic, and abstract. During this period his interpretation of the genesis of life was notable, conveyed in enormous spheres that were split open to reveal magical interior worlds. After returning to Bolivia his art became more figurative, as in ...

Article

America’s interest in Pre-Columbian culture began to take tangible form in the 19th century. American explorer John Lloyd Stephens (1805–52) and artist Frederick Catherwood journeyed to Chiapas and the Yucatán peninsula in 1839 to describe and document Mayan ruins. Their research was published in ...

Article

German archaeologist. His pioneering work in Peru and Bolivia between 1892 and 1912 revolutionized the archaeological study of Pre-Columbian South America. Uhle was trained as a philologist but later took up archaeology. His interest in Peru began when he was curator of the Dresden Museum. From ...

Article

Milan Ivelić

Chilean painter. A self-taught painter, in the 1950s and 1960s he based his landscape motifs and colours on the Andes, using very simple forms suggestive of Pre-Columbian textiles in their flat, abstract designs and balanced chromatic effects. It was a question of subjecting archetypal shapes to a subtle and rational play of colour. While remaining committed to a careful technique in both his oil paintings and pastels, Yrarrázaval fundamentally changed direction in ...