“serious art”: colombian art and the historical european vanguard in 1922
The article analizes the reception of European avantgardeart in Colombia through the analysis of the discussionsaroused by the exposition of Modern FrenchPainting, seen in Bogota and Medellin in 1922. RafaelTavera, Roberto Pizano and Gustavo Santos were themain voices in the debate. Their criticisms...
- Autores:
-
Suárez, Sylvia Juliana
- Tipo de recurso:
- Article of journal
- Fecha de publicación:
- 2008
- Institución:
- Universidad Nacional de Colombia
- Repositorio:
- Universidad Nacional de Colombia
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.unal.edu.co:unal/50598
- Acceso en línea:
- https://repositorio.unal.edu.co/handle/unal/50598
http://bdigital.unal.edu.co/44596/
- Palabra clave:
- Sylvia Suárez
arte colombiano moderno
pintura de vanguardia
Colombia y vanguardia
Sylvia Suárez
Colombian Modern Art
Vanguard Painting
Avant-garde in Colombia
- Rights
- openAccess
- License
- Atribución-NoComercial 4.0 Internacional
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Atribución-NoComercial 4.0 InternacionalDerechos reservados - Universidad Nacional de Colombiahttp://creativecommons.org/licenses/by-nc/4.0/info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Suárez, Sylvia Julianafcb6fcb6-d7e3-4eb1-8b81-8c14f17e201b3002019-06-29T10:31:41Z2019-06-29T10:31:41Z2008https://repositorio.unal.edu.co/handle/unal/50598http://bdigital.unal.edu.co/44596/The article analizes the reception of European avantgardeart in Colombia through the analysis of the discussionsaroused by the exposition of Modern FrenchPainting, seen in Bogota and Medellin in 1922. RafaelTavera, Roberto Pizano and Gustavo Santos were themain voices in the debate. Their criticisms are studied inorder to shed light on some aspects pertaining the cultural,artistic and institutional contexts that characterizedthe conservative position assumed by national artistsagainst to the European avant-garde at the beginningof the twentieth century.En “Arte serio”: El arte colombiano frente a la vanguardiahistórica europea en 1922 se estudian los procesos derecepción de la vanguardia europea en el medio colombianoa través del análisis de la crítica publicada en tornoa la Exposición de Pintura Moderna Francesa, realizada en1922. Las principales figuras del debate fueron RafaelTavera, Roberto Pizano y Gustavo Santos, cuya crítica sedesglosa con el fin de comprender los contextos culturales,artísticos e institucionales que signaron la refractariaposición del arte nacional con respecto a la vanguardiahistórica europea en los albores del siglo XX.application/pdfspaEnsayos: Historia y teoría del artehttp://revistas.unal.edu.co/index.php/ensayo/article/view/45846Universidad Nacional de Colombia Revistas electrónicas UN Ensayos: Historia y teoría del arteEnsayos: Historia y teoría del arteEnsayos: Historia y Teoría del Arte; núm. 14 (2008); 64-91 Ensayos: Historia y teoría del arte; núm. 14 (2008); 64-91 1692-3502Suárez, Sylvia Juliana (2008) “serious art”: colombian art and the historical european vanguard in 1922. Ensayos: Historia y Teoría del Arte; núm. 14 (2008); 64-91 Ensayos: Historia y teoría del arte; núm. 14 (2008); 64-91 1692-3502 .“serious art”: colombian art and the historical european vanguard in 1922Artículo de revistainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1http://purl.org/coar/version/c_970fb48d4fbd8a85Texthttp://purl.org/redcol/resource_type/ARTSylvia Suárezarte colombiano modernopintura de vanguardiaColombia y vanguardiaSylvia SuárezColombian Modern ArtVanguard PaintingAvant-garde in ColombiaORIGINAL45846-222461-1-SM.pdfapplication/pdf733622https://repositorio.unal.edu.co/bitstream/unal/50598/1/45846-222461-1-SM.pdf09664c2f0fa23bb15d541c9dfef676c8MD51THUMBNAIL45846-222461-1-SM.pdf.jpg45846-222461-1-SM.pdf.jpgGenerated Thumbnailimage/jpeg4873https://repositorio.unal.edu.co/bitstream/unal/50598/2/45846-222461-1-SM.pdf.jpg5dd25280002382d628ec3cee1baa41d6MD52unal/50598oai:repositorio.unal.edu.co:unal/505982023-12-16 23:05:12.232Repositorio Institucional Universidad Nacional de Colombiarepositorio_nal@unal.edu.co |
dc.title.spa.fl_str_mv |
“serious art”: colombian art and the historical european vanguard in 1922 |
title |
“serious art”: colombian art and the historical european vanguard in 1922 |
spellingShingle |
“serious art”: colombian art and the historical european vanguard in 1922 Sylvia Suárez arte colombiano moderno pintura de vanguardia Colombia y vanguardia Sylvia Suárez Colombian Modern Art Vanguard Painting Avant-garde in Colombia |
title_short |
“serious art”: colombian art and the historical european vanguard in 1922 |
title_full |
“serious art”: colombian art and the historical european vanguard in 1922 |
title_fullStr |
“serious art”: colombian art and the historical european vanguard in 1922 |
title_full_unstemmed |
“serious art”: colombian art and the historical european vanguard in 1922 |
title_sort |
“serious art”: colombian art and the historical european vanguard in 1922 |
dc.creator.fl_str_mv |
Suárez, Sylvia Juliana |
dc.contributor.author.spa.fl_str_mv |
Suárez, Sylvia Juliana |
dc.subject.proposal.spa.fl_str_mv |
Sylvia Suárez arte colombiano moderno pintura de vanguardia Colombia y vanguardia Sylvia Suárez Colombian Modern Art Vanguard Painting Avant-garde in Colombia |
topic |
Sylvia Suárez arte colombiano moderno pintura de vanguardia Colombia y vanguardia Sylvia Suárez Colombian Modern Art Vanguard Painting Avant-garde in Colombia |
description |
The article analizes the reception of European avantgardeart in Colombia through the analysis of the discussionsaroused by the exposition of Modern FrenchPainting, seen in Bogota and Medellin in 1922. RafaelTavera, Roberto Pizano and Gustavo Santos were themain voices in the debate. Their criticisms are studied inorder to shed light on some aspects pertaining the cultural,artistic and institutional contexts that characterizedthe conservative position assumed by national artistsagainst to the European avant-garde at the beginningof the twentieth century. |
publishDate |
2008 |
dc.date.issued.spa.fl_str_mv |
2008 |
dc.date.accessioned.spa.fl_str_mv |
2019-06-29T10:31:41Z |
dc.date.available.spa.fl_str_mv |
2019-06-29T10:31:41Z |
dc.type.spa.fl_str_mv |
Artículo de revista |
dc.type.coar.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.version.spa.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_6501 |
dc.type.coarversion.spa.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
dc.type.content.spa.fl_str_mv |
Text |
dc.type.redcol.spa.fl_str_mv |
http://purl.org/redcol/resource_type/ART |
format |
http://purl.org/coar/resource_type/c_6501 |
status_str |
publishedVersion |
dc.identifier.uri.none.fl_str_mv |
https://repositorio.unal.edu.co/handle/unal/50598 |
dc.identifier.eprints.spa.fl_str_mv |
http://bdigital.unal.edu.co/44596/ |
url |
https://repositorio.unal.edu.co/handle/unal/50598 http://bdigital.unal.edu.co/44596/ |
dc.language.iso.spa.fl_str_mv |
spa |
language |
spa |
dc.relation.spa.fl_str_mv |
http://revistas.unal.edu.co/index.php/ensayo/article/view/45846 |
dc.relation.ispartof.spa.fl_str_mv |
Universidad Nacional de Colombia Revistas electrónicas UN Ensayos: Historia y teoría del arte Ensayos: Historia y teoría del arte |
dc.relation.ispartofseries.none.fl_str_mv |
Ensayos: Historia y Teoría del Arte; núm. 14 (2008); 64-91 Ensayos: Historia y teoría del arte; núm. 14 (2008); 64-91 1692-3502 |
dc.relation.references.spa.fl_str_mv |
Suárez, Sylvia Juliana (2008) “serious art”: colombian art and the historical european vanguard in 1922. Ensayos: Historia y Teoría del Arte; núm. 14 (2008); 64-91 Ensayos: Historia y teoría del arte; núm. 14 (2008); 64-91 1692-3502 . |
dc.rights.spa.fl_str_mv |
Derechos reservados - Universidad Nacional de Colombia |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.license.spa.fl_str_mv |
Atribución-NoComercial 4.0 Internacional |
dc.rights.uri.spa.fl_str_mv |
http://creativecommons.org/licenses/by-nc/4.0/ |
dc.rights.accessrights.spa.fl_str_mv |
info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Atribución-NoComercial 4.0 Internacional Derechos reservados - Universidad Nacional de Colombia http://creativecommons.org/licenses/by-nc/4.0/ http://purl.org/coar/access_right/c_abf2 |
eu_rights_str_mv |
openAccess |
dc.format.mimetype.spa.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
Ensayos: Historia y teoría del arte |
institution |
Universidad Nacional de Colombia |
bitstream.url.fl_str_mv |
https://repositorio.unal.edu.co/bitstream/unal/50598/1/45846-222461-1-SM.pdf https://repositorio.unal.edu.co/bitstream/unal/50598/2/45846-222461-1-SM.pdf.jpg |
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