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Language: search.filters.language.SpanishSubject: search.filters.subject.Arte peruano

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    Los grabados de José Sabogal en libros y revistas: aportes al diseño gráfico peruano a inicios del siglo XX
    (Pontificia Universidad Católica del Perú, 2022-12-14)
    Sabogal, along with other intellectuals, reflected on their concerns about the complementarity of the text with the image and the artifact that contained them. It was an incipient discipline, without a name. However, it was a cultural phenomenon that combined knowledge, aesthetics and literature, and transformed magazines and illustrated books into objects of symbolic and sociocultural value. These artefacts of the past are now invaluable and are considered pieces of historical value that allow us to build a genealogy of the design discipline prior to its institutionalization around 1960. The artistic and graphic context of the 1920s and 1930s was a laboratory for experimentation in graphic illustration and xylography, which consolidated the concept of the graphic image.
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    Nelson Rockefeller y el arte andino: A propósito de la reapertura del ala Michael C. Rockefeller en el Museo Metropolitano de Arte de Nueva York
    (Pontificia Universidad Católica del Perú, 2026-02-13)
    On May 31, 2025, the galleries dedicated to the arts of Africa, Oceania, and the ancient Americas reopened at New York’s Metropolitan Museum of Art. Following a complete museological and museographic renovation, the Michael C. Rockefeller Wing once again presents these visual expressions as legitimate alternatives to the classic canon of fine arts, consolidating their place in art history. The fact that these arts have gained importance in this century is partly due to one of their greatest American collectors: Nelson Rockefeller. This note examines the connection between Rockefeller and Andean art, from his first trip to Peru in 1937 to the founding of the Museum of Primitive Art in 1954, and the opening of the Rockefeller Wing in 1982. Drawing on my experience as part of the team responsible for the reopening of the galleries in 2025, the text also reflects my thoughts on the presentation of the Andean art collection and the new meanings it acquires today.
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    ‘La Capitulación de Ayacucho’ de Daniel Hernández: Del hecho al lienzo
    (Pontificia Universidad Católica del Perú, 2025-05-26)
    This article is a study that aims to reconstruct, from the limited available sources, the creation process of the painting Capitulation of Ayacucho by the national artist Daniel Hernández, within the context of the centennial commemorations of the Battle of Ayacucho in 1924. This information covers the depiction of the historical event and its protagonists, the background, motivations, and interpretations of the work, and the culmination of a series of celebrations surrounding the centenary.
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