LoboVault Home
 

The Open Veins of Guayasamín's Paintings

LoboVault

Please use this identifier to cite or link to this item: http://hdl.handle.net/1928/12816

The Open Veins of Guayasamín's Paintings

Show simple item record

dc.contributor.author Otero, Maria
dc.date.accessioned 2011-07-01T22:42:03Z
dc.date.available 2011-07-01T22:42:03Z
dc.date.issued 2011-07-01
dc.date.submitted May 2011
dc.identifier.uri http://hdl.handle.net/1928/12816
dc.description.abstract This thesis will focus on several of the smaller series that make up Ecuadorian artist Oswaldo Guayasamín’s La Edad de la Ira series, using them as examples of the main themes of this body of work. These themes include representations of oppressors and the oppressed, which is a regularly occurring opposition created throughout La Edad de la Ira. The first chapter will explore images of series consisting only of oppressors in the context of Latin America’s actual history by relating it to Eduardo Galeano’s famous book Open Veins of Latin America. I do so in order to explore how Guayasamín’s images embody and illuminate the larger systems of inequality, such as those functioning within neo-colonial formations, that economically disadvantage the majority of Latin Americans on whose behalf he paints. In Chapter Two Las Manos series will be the site of concentration, as it is a rare series that features both oppressor and oppressed within the same series. This allows us to read it almost as a representation of the entire series, thus enabling a close reading of the visual language in order to approach Guayasamín's aesthetic and intentions with greater rigor. In this venture I will take on the criticism leveled at Guayasamín by the art critic Marta Traba, who felt modern art should not give undue attention to social themes, as did Guayasamín's work. I argue that Guayasamín's blend of modern visual elements with social commentary effectively utilizes modernist techniques to deepen his message in a way that is essentially transnational. The final chapter will switch focus to a series that depicts the oppressed, an indeterminate group that can either be quite specific or rather symbolic depending on the series. In this case the series by Guayasamín was inspired by Frantz Fanon's Les Damnés de la Terre and so deals with the victims of French colonialism in Algeria, but they can simultaneously be read as connecting the paintings to other forms of colonial or neo-colonial oppression, thus establishing important connections about the interconnectedness of international systems of oppression throughout history. en_US
dc.language.iso en_US en_US
dc.subject Oswaldo Guayasamín en_US
dc.subject 20th century Ecuadorian art en_US
dc.subject Eduardo Galeano en_US
dc.subject Frantz Fanon en_US
dc.subject The Wretched of the Earth en_US
dc.subject Marta Traba en_US
dc.subject La Edad de la Ira en_US
dc.subject Indigenismo en_US
dc.subject.lcsh Guayasamin, Oswaldo--Criticism and interpretation
dc.subject.lcsh Artists--Ecuador
dc.subject.lcsh Art, Ecuadorian--20th century
dc.subject.lcsh Social conflict in art
dc.subject.lcsh Political crimes and offenses in art
dc.title The Open Veins of Guayasamín's Paintings en_US
dc.type Thesis en_US
dc.description.degree Art History en_US
dc.description.level Masters en_US
dc.description.department University of New Mexico. Dept. of Art and Art History en_US
dc.description.advisor Craven, David
dc.description.committee-member Barnet-Sánchez, Holly
dc.description.committee-member Buick, Kirsten


Files in this item

Files Size Format View Description
MA thesis - 4.1 ... s Bibliography - FINAL.pdf 2.677Mb PDF View/Open MA Thesis

This item appears in the following Collection(s)

Show simple item record

UNM Libraries

Search LoboVault


Advanced Search

Browse

My Account