Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)

The article analyzes some city paintings about Paris and Bogota done by local artists around the turn of the century, in the late 1800s and early 1900s, taking into account two kinds of urban pictorial representations: i) urban scenes paintings, in which the city is the place for life and so human f...

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Autores:: Prada-Jurado, Mauricio

Tipo de recurso:: Article of investigation

Fecha de publicación:: 2012

Institución:: Universidad Antonio Nariño

Repositorio:: Repositorio UAN

Idioma:: spa

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spelling	Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)Acceso abiertohttps://creativecommons.org/licenses/by-nc-sa/4.0/info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Prada-Jurado, Mauricio2021-11-10T01:00:01Z2021-11-10T01:00:01Z2012-05-14http://revistas.uan.edu.co/index.php/nodo/article/view/68http://repositorio.uan.edu.co/handle/123456789/5550The article analyzes some city paintings about Paris and Bogota done by local artists around the turn of the century, in the late 1800s and early 1900s, taking into account two kinds of urban pictorial representations: i) urban scenes paintings, in which the city is the place for life and so human figures are relevant to the composition; and ii) urban landscape paintings, in which the main character is the city itself and, therefore, portrays of its inhabitants are quite uncommon. From this double point of view, the author examines images of Paris, including, the first dagurreotype as well as works by famous impressionists like Pissarro, Renoir, Van Gogh and Monet; and so it does with the images of Bogota done by two members of the Escuela de la Sabana (Savannah School): Luis Núñez Borda and Fídolo Alfonso González Camargo. Among others, the article concludes that painting is a useful artistic technology for understanding the complexities of the urban experience.El artículo analiza algunas de las pinturas de París y Bogotá, realizadas por los pintores de esas ciudades en un período histórico que gira en torno al cambio de siglo, entre el XIX y el XX. Se plantean dos tipos de representación pictórica urbana: i) pintar escenas de ciudad, en donde la ciudad es escenario para la vida, y por tanto, son relevantes las figuras humanas plasmadas en la tela; y, ii) pintar la ciudad, en donde la protagonista de los lienzos es la ciudad misma y, en consecuencia, se trata de obras que se destacan por no contener representaciones de sus habitantes. Bajo este enfoque doble, el autor analiza imágenes de París que incluyen el primer daguerrotipo, además de obras de los impresionistas, especialmente Pissarro, Renoir, Van Gogh y Monet, entre otros; y hace lo mismo con las imágenes que representan a Bogotá, realizadas por dos miembros de la Escuela de la Sabana: Luis Núñez Borda y Fídolo Alfonso González Camargo. Se concluye, entre otras cosas, que la pintura es un instrumento artístico para comprender la complejidad de la vida urbana.application/pdfspaUniversidad Antonio Nariñohttp://revistas.uan.edu.co/index.php/nodo/article/view/68/6262346-092X1909-3888REVISTA NODO; Vol. 6 Núm. 12 (2012); 33 - 44Art and the citycity paintingsEscuela de la Sabana (Bogota)Arte y ciudadpintura de ciudadEscuela de la SabanaTurn of the century Paris and Bogota as seen by their painters (19th to 20th century)París y Bogotá vistas por sus pintores en el cambio de siglo (XIX - XX)Artículo revisado por paresinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/articlehttp://purl.org/coar/version/c_970fb48d4fbd8a85123456789/5550oai:repositorio.uan.edu.co:123456789/55502024-10-09 23:00:49.82https://creativecommons.org/licenses/by-nc-sa/4.0/Acceso abiertometadata.onlyhttps://repositorio.uan.edu.coRepositorio Institucional UANalertas.repositorio@uan.edu.co
dc.title.en-US.fl_str_mv	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
dc.title.es-ES.fl_str_mv	París y Bogotá vistas por sus pintores en el cambio de siglo (XIX - XX)
title	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
spellingShingle	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century) Art and the city city paintings Escuela de la Sabana (Bogota) Arte y ciudad pintura de ciudad Escuela de la Sabana
title_short	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
title_full	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
title_fullStr	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
title_full_unstemmed	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
title_sort	Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)
dc.creator.fl_str_mv	Prada-Jurado, Mauricio
dc.contributor.author.spa.fl_str_mv	Prada-Jurado, Mauricio
dc.subject.en-US.fl_str_mv	Art and the city city paintings Escuela de la Sabana (Bogota)
topic	Art and the city city paintings Escuela de la Sabana (Bogota) Arte y ciudad pintura de ciudad Escuela de la Sabana
dc.subject.es-ES.fl_str_mv	Arte y ciudad pintura de ciudad Escuela de la Sabana
description	The article analyzes some city paintings about Paris and Bogota done by local artists around the turn of the century, in the late 1800s and early 1900s, taking into account two kinds of urban pictorial representations: i) urban scenes paintings, in which the city is the place for life and so human figures are relevant to the composition; and ii) urban landscape paintings, in which the main character is the city itself and, therefore, portrays of its inhabitants are quite uncommon. From this double point of view, the author examines images of Paris, including, the first dagurreotype as well as works by famous impressionists like Pissarro, Renoir, Van Gogh and Monet; and so it does with the images of Bogota done by two members of the Escuela de la Sabana (Savannah School): Luis Núñez Borda and Fídolo Alfonso González Camargo. Among others, the article concludes that painting is a useful artistic technology for understanding the complexities of the urban experience.
publishDate	2012
dc.date.issued.spa.fl_str_mv	2012-05-14
dc.date.accessioned.none.fl_str_mv	2021-11-10T01:00:01Z
dc.date.available.none.fl_str_mv	2021-11-10T01:00:01Z
dc.type.spa.fl_str_mv	Artículo revisado por pares
dc.type.version.spa.fl_str_mv	info:eu-repo/semantics/publishedVersion
dc.type.coar.spa.fl_str_mv	http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.driver.spa.fl_str_mv	info:eu-repo/semantics/article
dc.type.coarversion.none.fl_str_mv	http://purl.org/coar/version/c_970fb48d4fbd8a85
format	http://purl.org/coar/resource_type/c_2df8fbb1
status_str	publishedVersion
dc.identifier.none.fl_str_mv	http://revistas.uan.edu.co/index.php/nodo/article/view/68
dc.identifier.uri.none.fl_str_mv	http://repositorio.uan.edu.co/handle/123456789/5550
url	http://revistas.uan.edu.co/index.php/nodo/article/view/68 http://repositorio.uan.edu.co/handle/123456789/5550
dc.language.iso.spa.fl_str_mv	spa
language	spa
dc.relation.none.fl_str_mv	http://revistas.uan.edu.co/index.php/nodo/article/view/68/626
dc.rights.none.fl_str_mv	Acceso abierto
dc.rights.license.spa.fl_str_mv	Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
dc.rights.uri.spa.fl_str_mv	https://creativecommons.org/licenses/by-nc-sa/4.0/
dc.rights.accessrights.spa.fl_str_mv	info:eu-repo/semantics/openAccess
dc.rights.coar.spa.fl_str_mv	http://purl.org/coar/access_right/c_abf2
rights_invalid_str_mv	Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) Acceso abierto https://creativecommons.org/licenses/by-nc-sa/4.0/ http://purl.org/coar/access_right/c_abf2
eu_rights_str_mv	openAccess
dc.format.none.fl_str_mv	application/pdf
dc.publisher.spa.fl_str_mv	Universidad Antonio Nariño
dc.source.none.fl_str_mv	2346-092X 1909-3888
dc.source.es-ES.fl_str_mv	REVISTA NODO; Vol. 6 Núm. 12 (2012); 33 - 44
institution	Universidad Antonio Nariño
repository.name.fl_str_mv	Repositorio Institucional UAN
repository.mail.fl_str_mv	alertas.repositorio@uan.edu.co
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Turn of the century Paris and Bogota as seen by their painters (19th to 20th century)

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