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and climatic zones nineteenth century edit a libertação dos escravos by brazilian painter pedro américo oil 1889 during the 19th century parallel to the formation of the first nation state in central america and south america art assumed a political and social role far from being a mere aesthetic element the latin american artistic production worked like a reflection of its time mirroring the structural organization of these new societies and also building and collaborating with the perpetuation of its new subjects through visual representations in the first decades there was a strong presence throughout the continent in which art get s pulled close to the iconography in such context it s understood that paintings as a iconographic kind of artistic production that works like a visual language that tries to comprehend the meaning of symbols metaphors and narrative elements be it explicit or implicit in an artwork focusing on the analysis of what is being represented and its reasons throughout the period it has been observed that artistic sources transcended the realm of mere visual registry assuming the role of a political social ethnic and economical construction of the society the representative power of latin american art from this period can be delimited by dividing it into two characteristics the representation of power among individuals within the social sphere and the paintings representing historical moments singled out as forming the nation historical and academicist painting edit at the end of the 18th century and throughout the 19th century the concepts of nationality and belonging gained centrality in enlightenment intellectual debates with the advance of emancipatory sentiments the subsequent waves of independence especially in the americas and the separatist movements the need arose to build a collective identity 30 this effort aimed to enable citizens to recognize themselves as part of a broad social body that would come to demand commitment loyalty and responsibility from them the nation to perpetuate this image of unity states employed various apparatuses as political artifices among them historical painting played a fundamental role in creating a common past that served among other purposes as a model of moral correction for citizens these works recovered past episodes usually led by mythical figures portrayed in real or allegorical form to consolidate a mythological narrative of national aggrandizement nationalism is often seen being rescued by historical painting artists to pave the implicit discourse conveyed by the works throughout 19th century latin america one perceives the strength of this artistic genre in the fortification of the young nations that were emancipating themselves from their metropoles by way of example the chilean painter manuel antonio caro recorded the moment of the abdication of bernardo o higgins which took place on 28 january 1823 when the supreme leader of chile resigned from power to avoid civil war in the country pressured by the aristocracy and by uprisings in the provinces he handed over the office to a government junta the work conceived over half a century after the event aims to illustrate a historical passage deemed important for the national memory of chile in brazil victor meirelles a painter trained at the imperial academy of fine arts records an anthological moment of brazilian history by painting what was imagined at the time to have been the setting of the first mass in brazil held on 26 april 1500 the homonymous canvas finished in 1861 presents a crafted and glorified vision of the catholic church a wide participant in the formation of the structural roots of brazilian society throughout the entire colonial period it also works the image of the first portuguese colonisers who conquered the territory after the landing of the squadrons of pedro álvares cabral on the lands that would later come to be recognised as brazil such representations present the narratives that the brazilian imperial state at the time wished to perpetuate into the imaginary of its citizens hierarchical representations of power edit nineteenth century iconography visually exposes the social pyramid of the period and the relationships that shaped individuals across multiple realities in this type of work small details such as the way subjects were positioned in space by the artist their clothing accessories and how they were illuminated on the canvas specified which social type was being represented in paintings prints and frescoes revealing who held power and who was subjected to it 31 the national elite broadly influenced by european habits sought to be represented as dissociated from the supposed tropical backwardness associated with other latin american peoples including indigenous black and mixed race populations these new aristocracies sought to associate themselves through artistic representations and objects such as clothing furniture and jewels as heirs to the civility of their ancestors from europe gallery foreign artists in latin america edit johann moritz rugendas german costumes in rio brazil 1823 johann moritz rugendas german slave hunter brazil 1823 johann moritz rugendas german capoeira or the dance of war brazil 1835 johann moritz rugendas brazilian dance lundu brazil 1835 jean baptiste debret french l execution de la punition du fouet execution of the punishment of the whip brazil jean baptiste debret french feitors corrigeant des negres plantation overseers disciplining blacks brazil jean baptiste debret french family dining brazil claudio linati italian apache chief mexico 1828 carl nebel german las tortilleras voyage pittoresque et archéologique dans la partie la plus intéressante du mexique mexico early 19th c carl nebel the plaza de la constitución during the mexican american war 1846 48 frederick catherwood british main temple at tulum mexico from views of ancient monuments daniel thomas egerton british the aqueduct of zacatecas mexico 1838 now in the franz mayer museum frederic edwin church u s tropical scenery 1873 gallery latin american artists edit carmelo fernández venezuela muleteer and hat weaver in vélez 1850 watercolor national library of colombia cristóbal rojas venezuela la taberna 1887 arturo michelena venezuela la joven madre 1889 ángel della valle argentina the return of the malón 1892 carlos morel argentina payada en una pulpería prilidiano pueyrredón argentina a stop in the countryside juan manuel blanes uruguay paraguay image of your desolate country 1879 manuel antonio caro chile the abdication of bernardo o higgins alejandro ciccarelli chile vista de santiago de chile desde peñalolén antonio smith chile cordillera and lake late 19th c juan francisco gonzález chile calle de limache gonzález is considered one of chile s greatest painters josé gil de castro peru josé olaya 1828 pancho fierro afro peruvian artist veiled women tapadas going to church francisco laso peru the three races or equality before the law victor meirelles first mass in brazil 1861 museu nacional de belas artes an example of brazilian academic art agostinho josé da mota brazil factory at barão de capanema 1862 museu nacional de belas artes almeida júnior brazil reading woman 1892 pedro weingartner brazil after the flood meseu nacional de belas artes rio de janeiro victor patricio de landaluze cuba cutting sugar cane 1874 agustín arrieta el costeño private collection the painting shows a boy from the coast likely veracruz holding a basket of fruits including mamey tuna and pitahaya josé maría velasco mexico view of the valley of mexico modernism edit la muerte de girardot en bárbula by venezuelan painter cristóbal rojas oil 1883 modernism a western art movement typified by the rejection of traditional classical styles this movement holds an ambivalent position in latin american art not all countries developed modernized urban centers at the same time so modernism s appearance in latin america is difficult to date while modernism was welcomed by some others rejected it generally speaking the countries of the southern cone were more open to foreign influence while countries with a stronger indigenous presence such as mexico peru ecuador and bolivia were resistant to european culture 32 a landmark event for modernism in the region was the semana de arte moderna or modern art week a festival that took place in são paulo brazil in 1922 marking the beginning of brazil s modernismo movement t hough a number of individual brazilian artists were doing modernist work before the week it coalesced and defined the movement and introduced it to brazilian society at large citation needed constructivist movement edit brazilian artist candido portinari study for discovery of the land mural at the library of congress washington d c in general the artistic eurocentrism associated with the colonial period began to fade in the early twentieth century as latin americans began to acknowledge their unique identity and started to follow their own path from the early twentieth century onward the art of latin america was greatly inspired by constructivism citation needed it quickly spread from russia to europe and then into latin america joaquín torres garcía and manuel rendón have been credited with bringing the constructivism to latin america citation needed after a long and successful career in europe and the united states torres garcía returned to his native uruguay in 1934 where he both promoted constructivism and augmented it into a uniquely uruguayan movement universal constructivism attracting a circle of experienced peers and young artists as followers in montevideo in 1935 he founded the asociación de arte constructivo as an art center and exhibition space for his circle the venue was closed in 1940 due to a lack of funding in 1943 he opened the taller torres garcía a workshop and training center that operated until 1962 33 muralism edit see also mexican muralism josé clemente orozco mural omniciencia 1925 muralism or muralismo is an important artistic movement generated in latin america it is popularly represented by the mexican muralism movement of diego rivera david alfaro siqueiros josé clemente orozco and rufino tamayo in chile josé venturelli and pedro nel gómez were influential muralists santiago martinez delgado championed muralism in colombia as did gabriel bracho in venezuela in the dominican republic spanish exile josé vela zanetti was a prolific muralist painting over 100 murals in the country the ecuadorian artist oswaldo guayasamín a student of orozco the brazilian candido portinari and bolivian miguel alandia pantoja are also noteworthy some of the most impressive muralista works can be found in mexico colombia new york san francisco los angeles chicago and philadelphia mexican muralism enjoyed a type of prestige and influence in other countries that no other american art movement had ever experienced 34 through muralism artists in latin america found a distinctive art form that provided for political and cultural expression often focusing on issues of social justice related to their indigenous roots 32 generación de la ruptura edit generación de la ruptura or rupture generation sometimes simply known as ruptura is the name given to an art movement in mexico in the 1960s in which younger artists broke away from the established national style of muralismo born out of the desire of younger artists for greater freedom of style in art this movement is marked by expressionistic and figurative styles mexican artist josé luis cuevas is credited with initiating the ruptura in 1958 cuevas published a paper called la cortina del nopal the cactus curtain which condemned mexican muralism as overly political calling it cheap journalism and harangue rather than art 32 representative artists include josé luis cuevas alberto gironella and rafael coronel armando reverón is one of the most important painters of the century in latin america nueva presencia edit nueva presencia new presence was an artist group founded by artists arnold belkin and francisco icaza in the early 1960s in response to wwii atrocities such as the holocaust and the atomic bomb the artists of nueva presencia shared an anti aesthetic rejection of contemporary trends in art and believed that the artist had a social responsibility their beliefs were outlined in the nueva presencia manifesto which was published in the first issue of the poster review of the same name no one especially the artist has the right to be indifferent to the social order 33 members of the group included francisco corzas b 1936 emilio ortiz b 1936 leonel góngora b 1933 artemio sepúlveda b 1936 and josé muñoz and photographer ignacio nacho lópez surrealism edit the french poet and founder of surrealism andré breton after visiting mexico in 1938 proclaimed it to be the surrealist country par excellence 33 surrealism an artistic movement originating in post world war i europe strongly impacted the art of latin america this is where the mestizo culture the legacy of european conquer over indigenous peoples embodies contradiction a central value of surrealism 35 the widely known mexican painter frida kahlo painted self portraits and depictions of traditional mexican culture in a style that combines realism symbolism and surrealism although kahlo did not commend this label once saying they thought i was a surrealist but i wasn t i never painted dreams i painted my own reality 36 kahlo s work commands the highest selling price of all latin american paintings and the second highest for any female artist 37 other female mexican surrealists include leonora carrington a british woman who relocated to mexico and remedios varo a spanish exile mexican artist alberto gironella chilean artists roberto matta mario carreño morales and nemesio antúnez cuban artist wifredo lam and argentine artist roberto aizenberg have also been classified as surrealists remedios varo mexico roulotte 1956 contemporary art edit since roughly the 1970s artists from all parts of latin america have made important contributions to international contemporary art from conceptual sculptors like doris salcedo from colombia and daniel lind ramos from puerto rico to painters like myrna báez from puerto rico to artists working in media like photography such as vik muniz from brazil in mexico printmaking has served as a medium for political expression and social movements since the early 20th century 38 following the 2006 uprising in oaxaca politically engaged collectives including asaro colectivo subterráneos and lapiztola formed to address contemporary issues through relief printmaking and public muralism 39 40 styles and trends edit figuration edit european classical art styles have made a long lasting impression on the art of latin america into the twentieth century many latin american artists continued to be schooled in the traditional 19th century style resulting in a 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