國立虎尾科技大學 |

Between New York and the Andes, Abstraction and Indigenismo : = Camilo Egas's Paintings from the 1940s and 1950s.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Between New York and the Andes, Abstraction and Indigenismo :/
Reminder of title:	Camilo Egas's Paintings from the 1940s and 1950s.
Author:	Iturralde Mantilla, Diana.
Description:	1 online resource (141 pages)
Notes:	Source: Masters Abstracts International, Volume: 57-05.
Contained By:	Masters Abstracts International57-05(E).
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780355954999

Between New York and the Andes, Abstraction and Indigenismo : = Camilo Egas's Paintings from the 1940s and 1950s.
Iturralde Mantilla, Diana.

Between New York and the Andes, Abstraction and Indigenismo :Camilo Egas's Paintings from the 1940s and 1950s. - 1 online resource (141 pages)

Source: Masters Abstracts International, Volume: 57-05.

Thesis (M.A.)--Temple University, 2018.

Includes bibliographical references

Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas's peculiar avant-gardist role in the country's artistic milieu, at a time when Indigenismo, the country's dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas's position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art's role in society.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355954999Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Between New York and the Andes, Abstraction and Indigenismo : = Camilo Egas's Paintings from the 1940s and 1950s.
LDR:03196ntm a2200349Ki 4500 001 920794
005 20181203094402.5
006 m o u
007 cr mn||||a|a||
008 190606s2018 xx obm 000 0 eng d
020 $a 9780355954999
035 $a (MiAaPQ)AAI10793185
035 $a (MiAaPQ)temple:13306
035 $a AAI10793185
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Iturralde Mantilla, Diana. $3 1195682
245 1 0 $a Between New York and the Andes, Abstraction and Indigenismo : $b Camilo Egas's Paintings from the 1940s and 1950s.
264 0 $c 2018
300 $a 1 online resource (141 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Masters Abstracts International, Volume: 57-05.
500 $a Advisers: Mariola V. Alvarez; Erin Pauwels.
502 $a Thesis (M.A.)--Temple University, 2018.
504 $a Includes bibliographical references
520 $a Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas's peculiar avant-gardist role in the country's artistic milieu, at a time when Indigenismo, the country's dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas's position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art's role in society.
520 $a This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas's personal documentation of his work, and other existing academic material, to inform my research and writing.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
650 4 $a Latin American studies. $3 1181249
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
690 $a 0550
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Temple University. $b Art History. $3 1195624
773 0 $t Masters Abstracts International $g 57-05(E).
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10793185 $z click for full text (PQDT)