Papers by Rosa JH Berland
Routledge eBooks, Sep 10, 2018
<jats:p>The self-taught painter Mario Alvarado Urteaga's oeuvre includes 197 known draw... more <jats:p>The self-taught painter Mario Alvarado Urteaga's oeuvre includes 197 known drawings and paintings. Urteaga's works often have a contemplative and dignified format that the Museum of Modern Art curator Lincoln Kirstein called "the poetry of the commonplace." During the 1920s to 1930s, Urteaga had begun to move away from neo-Renaissance religious subject matter and concentrated on the gravitas depiction of the Peruvian indigenous people including scenes of daily rural and village life, as well as religious and funerary processions. The oil painting Burial of an Illustrious Man, 1936 (Entierro de veteran), now in the collection of the Museum of Modern Art from the artist's classical period (1930–1939), depicts a burial in Cajamarca of a veteran of the Chilean-Peruvian War of 1879. It is one of five known paintings of funerary processions (Entierro en Cajamarca, 1923–1934; Entierro, 1945; Entierro, 1946; and El Entierro de un hermano, date unknown) made by Urteaga. In Burial of an Illustrious Man, the artist takes traditional subject matter (a funeral procession) and reinterprets it in a classically informed style that depicts the native people of Peru with a somber dignity and traces of a social realism. Urteaga's dignified portrayal of the indigenous people of Peru influenced generations of national painters, and his work has come to symbolize a manifestation of indigenous pride.</jats:p>
Routledge eBooks, Sep 10, 2018
<jats:p>Long associated with the Peruvian 'indigenista' movement, Sabogal was laude... more <jats:p>Long associated with the Peruvian 'indigenista' movement, Sabogal was lauded by the Marxist José Carlos Mariátegui as a truly 'Peruvian painter'. The definition of the modern and historic concept of the meaning of Peruvian identity was constantly in flux in the early to the mid-twentieth century, and as such, the artist would fall in and out of favour with the various factions. However, Sabogal's representation of the Indigenous people of Peru and his commitment to Peruvian history, including the inheritance of Incan culture, served as the beginning of a cultural preservation of this heritage, and engendered the reimagination of the 'Indian' by generations of Peruvian artists.</jats:p>
Routledge eBooks, Sep 10, 2018
While the legacy of Juan Del Prete (b. 1897, Vasto, Chieti, Italy; d. 1987, Buenos Aires) begins ... more While the legacy of Juan Del Prete (b. 1897, Vasto, Chieti, Italy; d. 1987, Buenos Aires) begins with the introduction of visual abstraction to Argentina through two exhibitions of his work in 1933 and 1934 (both at the Asociación Amigos del Arte in Buenos Aires), his oeuvre, which spans over forty years, is largely characterized by experimentation in a variety of modernist styles. Born in Italy, Del Prete immigrated to Argentina in 1909 and studied briefly at the Academia Perugino and Mutualidad de Estudiantes de Bellas Artes in Buenos Aires, participating in the El Bermellón Group. Much of his early work was representational, and included landscapes like Nota campestre (1925). In 1926, Del Prete exhibited with the progressive organization Asociación Amigos del Arte, which awarded him a scholarship to study abroad in France (1929–1933). Del Prete was one of many Latin American artists living and working in Paris, and took part in a rich artistic exchange with Hans Arp, Massimo Campigli, Rachel Forner, Joaquín Torres García, Jean Hélion, and Georges Vantongerloo. Del Prete joined the ion-Création group in 1932. In Paris, Del Prete exhibited with the Salon des Surindépendants (1930–1933), Salon des Réalités Nouvelles, Huit artistes du Rio de la Plata, Galerie Castelucho-Dianan and the Première Exposition du Groupe Latino-Americain de Paris (1930). Moreover, Gallery Zak held an exhibition of Del Prete’s work in 1930, as did Galerie Vavin in 1931. His work from this period includes colorful geometric compositions including Abstracción (1932).
La Linea, Art Students’ League, New York , 2022
The reconstruction of the twenty-first-century imagination (ideologies that shape our " imagined ... more The reconstruction of the twenty-first-century imagination (ideologies that shape our " imagined world ") and aesthetic view through the " authentic " modes of abstraction, conceptualism, and the lens of media and digital technology has led to a new way of understanding and experiencing creativity. While these are certainly new or original critical experiences, there are other types of creativity, ideologies and imaginary worlds that are quite separate, and sometimes polemically opposed to this genre of making and looking. An example of this type of creative visualization and boycotting of the supposedly authentic gesture is the work of the late American artist Edward E. Boccia, who devoted much of his life to a series of panel paintings that take as their subject problems of politics and society, as well as religious experience in the twentieth century. Made between 1956-2006, the large scale altarpieces represent the phenomenon of figural creativity produced in traditional studio mediums in mid-to late twentieth-century America. While the artist was active within a university community, where there would be a heightened awareness if not support of the contemporary rhetoric of formalist criticism and anti-illusionism, Boccia's way of working was transgressive, going against the nationwide current of Abstraction, Minimalism and Conceptual art, art informe and later digitization. This study attempts to reposition his significance and move past a conscribed history of mid-to late twentieth-century American art that has often been guided by a somewhat reductive hierarchy in which abstraction and its progeny feature as the key accomplishments of American ingenuity.
E): It has long been granted that part of the aesthetic experience of art lies outside the conven... more E): It has long been granted that part of the aesthetic experience of art lies outside the conventional sphere of the maker —that is, a painting also involves the imaginative reconstruction by the viewer. To an extent, this can be designed and guided by a visual artist. If the artifact is merely discursive, it can be approached like logical sequences, "put" there for the viewer to discover analytically. This is particularly true of portraiture, which has served an important social function, whether official or sentimental. However, when a painting is less logical and codified, as is the case of early expressionism, something other than the iconography of rational systems of thought and forms from the natural world comes in. Focusing on capturing movement, psychological effect and transience, Oskar Kokoschka's portraits work within a theory of subjectivity that reveal the sitter's psychology and valorizes artistic imagination. Abstract (F): C'est une idée très a...
As André Breton declared, the Surrealist examines "with a critical eye the notions of reality and... more As André Breton declared, the Surrealist examines "with a critical eye the notions of reality and unreality, reason and irrationality, reflection and impulse, knowledge and 'fatal' ignorance, usefulness and uselessness." 1 During her long exile in Mexico, the expatriate Spanish painter Remedios Varo, like her colleagues Leonora Carrington and Frida Kahlo, pushed the boundaries of authorship by embodying a complex genre of drawing and painting focusing on a female protagonist. 2 Varo produced an inventive body of work that expanded on the tropes of Parisian Surrealism, including a blending of magical realism, an appreciation for mysticism, popular ethnography, science, and the kind of narrative typical of Mexican muralism. Synthesizing typology from surrealist painting with regional artistic trends, Varo embarked on a dialectic of creativity and the unconscious, producing incisive commentary on psychoanalysis and the social role of women. Rejecting the surrealist inflection of desire derived from Freud's theory of sexuality, Varo employs a lexicon of images replacing the fractured feminine body with images of women engaged in creative acts, metamorphosis and travel.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
It has long been granted that part of the aesthetic experience of art lies outside the convention... more It has long been granted that part of the aesthetic experience of art lies outside the conventional sphere of the maker-that is, a painting also involves the imaginative reconstruction by the viewer. To an extent, this can be designed and guided by a visual artist. If the artifact is merely discursive, it can be approached like logical sequences, -put‖ there for the viewer to discover analytically. This is particularly true of portraiture, which has served an important social function, whether official or sentimental. However, when a painting is less logical and codified, as is the case of early expressionism, something other than the iconography of rational systems of thought and forms from the natural world comes in. Focusing on capturing movement, psychological effect and transience, Oskar Kokoschka's portraits work within a theory of subjectivity that reveal the sitter's psychology and valorizes artistic imagination.
Books by Rosa JH Berland
Shimmering Zen, Smallworks Press, 2021
Poems & Drawings of Jerry Pfaffl, Small Works Press, Ltd, Las Vegas, 2014
Art & Poems of DB Holland, Smallworks Press Ltd., Las Vegas, 2015
Will Roger: Aerials , 2018
Handbook for A Burning Age, 2018
Handbook for A Burning Age, Will Roger Peterson.
Arkham Asylum & Psychiatry, McFarland, 2018
Absolutely Augmented Reality, Scheidegger and Speiss, Zurich, 2020
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Papers by Rosa JH Berland
Books by Rosa JH Berland
This talk will examine the artist Edward E. Boccia’s (1921–2012) innovative approach to painting and the reception of his work, as well as his connections to his Italian heritage. Born in Newark, New Jersey, Boccia studied at the Pratt Institute and the Art Students League and went on to teach for more than thirty years at the Washington University of St. Louis. Called a neo-expressionist, a modern neo-Renaissance painter, and even a magical realist, Boccia had a practice informed by the great masters as well as the work of twentieth-century modernists such as Max Beckmann and Oskar Kokoschka. What makes Boccia unique is his creation of a pictorial language that synthesized the mid-to-late-twentieth-century experience with motifs and themes from Catholicism, literary criticism, the politics of anti-materialism, and the importance of craft.