Die Malerei - El Cubismo (die Facetten)

El Cubismo (die Facetten)
Künstler von Cuzco sahen mit diesem Stil die Gelegenheit, Formen und Bilder auf eine einfache Form darzustellen. Diese Technik konnte man für Abstraktionen von Landschaften und Gesichtern verwenden. Der Gründer dieser Technik war Quispejo.
Er verwendete diese Technik, um Indianerinnen darzustellen. Diese Kunst heisst im Volksmund "Facetado" oder Facetten.

http://n.ethz.ch/student/flooswal/peru/malerei.htm

Traduccion:
El Cubismo (de las facetas )
Los artistas del Cuzco vieron la oportunidad con este estilo de representar formas y cuadros en una forma simple. Uno podía utilizar esta tecnica para las abstracciones de paisajes y de rostros. El fundador de esta tecnica fue Quispejo. El utilizó esta tecnica, para explicar el sentimiento del indio. Este arte se llama en el Facetado vernáculo o facetas.

MIGUEL ESPINOZA SALAS: GRABADOS

http://www.unmsm.edu.pe/eventos/expo2006/grabados.htm



Miguel Espinoza Salas. El eterno viaje del oficio

Sala de Exposiciones Colegio Real.

Exposición: Del 24 de marzo al 28 de abril del 2006.

Fue una buena oportunidad para reencontrarse con los viejos amigos que conformaron el grupo Puka Punku.

El Pisco es Peruano

Latin Art Strikes Salsa Beat With Hispanics

The buzz in marketing circles is the growing Hispanic population. But how does this community respond to art?
By Debbie Hagan ABN Contributing Editor



The spinning of thread to be used for weaving is depicted in “Highland Spinners” by Julio Quispe Virhuez (Quispejo), who is represented by the Boston-based Equator Gallery.

Hispanics are now the largest minority in the United States. One in eight Americans—almost 39 million—are Hispanic, according to the U.S. Census Bureau. More than two million more Hispanics live in the United States than African Americans. It’s a fast-growing population, too. Between 2000 and 2002, the Hispanic population grew 9.8 percent while the rest of the country’s population grew only 2.5 percent.
Demographic Details
Of the major minority groups in the United States, Hispanics have the smallest percentage of art buyers. According to the 2002 Survey of Public Participation in the Arts, conducted by the National Endowment for the Arts, approximately 7 percent of Hispanics own original art, such as paintings, drawings, sculpture and prints. In contrast, 20 percent of the overall American population owns art.
However, art and money go hand-in-hand, and many Hispanics are new Americans struggling to establish themselves. The Census Bureau reported in 2001 that 26 percent of Latinos made $35,000 or more a year, and about 12 percent made $50,000 or more. But one-fifth of all Hispanics live in poverty. Economists note that, as Hispanics become more educated and better employed, their income and earning power will rise.
Ed Bolin, owner of Kaleidoscope Gallery, located in Mission Viejo and Laguna Beach, Calif., said that even though 32 percent of all Californians are Hispanic, he sees very few in his galleries. Rather, Hispanics* tend to cluster in homogeneous communities. Instead of living in Laguna Beach (where most residents are wealthy and white non-Hispanics) many Hispanics prefer to live in Santa Ana. There, 76 percent of the population is Hispanic, and the median income is $42,162.
The 2002 Survey of Public Participation in the Arts shows that more than one-third of the Hispanics who buy art have a bachelor’s degree or higher. Half of art buyers earned $50,000 or more a year. Twenty percent earned $75,000 or more a year.
Using the same survey, 72 percent of Hispanic art buyers said that they owned their own homes. In contrast, only 47 percent of all Hispanics were homeowners, whereas 68 percent of all non-Hispanics owned their homes.
Also, the Hispanic population is quite young. According to the U.S. Census Bureau, the median age for all Hispanics in this country is 26. Thus, marketers look at this as an up-and-coming consumer market. Expectations are high that the Hispanic market will surge in buying power by the end of the decade. By 2008, Hispanic buying power is expected be $1,014 billion—exceeding that of African Americans by almost $100 billion, according to the Selig Center for Economic Growth, a demographic research organization in Athens, Ga.

Grupo ESTILOS en CAP - Octubre 2006

Grupo ESTILOS

José ALDANA SULLON
Silvia BLANCO
César MARTINEZ
Alvaro MENDOZA
Julio "QUISPEJO"
César YAURI

´Os Artistas do Futuro`

Impsat lança livro ´Os Artistas do Futuro`
Publicação traz obras de crianças e jovens carentes da América Latina; Brasil tem seis trabalhos selecionados por Sirón Franco.

A Impsat, provedora de serviços integrados de Transmissão de Dados, Internet, Data Center e Telefonia na América Latina, mantém a tradição e comemora o início do ano com o lançamento de um livro de artes. A publicação, que nas edições anteriores compilava obras de artistas renomados, este ano, pela primeira vez, apresenta trabalhos de crianças e adolescentes carentes. O livro, intitulado “Os Artistas do Futuro”, traz 42 desenhos de artistas mirins de diferentes países da América Latina.

O Brasil está representado por seis trabalhos de crianças e adolescentes do Instituto GTECH, entidade social que atua na promoção de uma política de arte-cidadania. As obras brasileiras que integram o livro foram selecionadas pelo pintor goiano Sirón Franco, um dos artistas brasileiros mais conhecidos no exterior. Franco, que participou da edição “A Vida Bate”, editado pela Impsat em 1999, avaliou mais de 50 trabalhos.

O processo de seleção das obras foi o mesmo em todos os países: artistas que haviam participado de edições anteriores foram responsáveis pela escolha dos melhores trabalhos. “A Impsat se sente orgulhosa em promover a arte entre crianças e jovens carentes da América Latina”, afirmou o diretor-geral da Impsat no Brasil, Célio Bozola.

“O lançamento do livro faz parte da filosofia da empresa de incentivar a arte e ações sociais nos países onde estamos presentes”, ressaltou o executivo. A edição 2003 do livro da Impsat teve uma tiragem de 7 mil exemplares, que foram distribuídos pela empresa a clientes e parceiros em todos os países onde a Impsat atua.

Os artistas responsáveis pela seleção dos desenhos neste projeto foram: Luis Felipe Noé (Argentina), Sirón Franco (Brasil), Benjamín Lira Valdés (Chile), Gustavo Zalamea (Colômbia), Oswaldo Viteri (Equador), Julio Quispe Virhuez “Quispejo” (Peru) e Pedro León Zapata (Venezuela).

Imagem da capa do livro está disponível para download no seguinte endereço:http://www.s2.com.br/s2arquivos/357/Imagens/2051Image.jpg

Perfil Impsat
A Impsat é provedora de serviços de telecomunicações integrados de voz, dados e Internet para redes privadas na América Latina. A Impsat também oferece serviços de hosting em seus 14 Data Centers localizados nas mais importantes cidades como São Paulo, Rio de Janeiro, Curitiba, Buenos Aires, Santiago e Fort Lauderdale. A empresa provê serviços para 3 mil companhias. A companhia tem operações na Argentina, Brasil, Chile, Colômbia, Equador, Estados Unidos, Peru e Venezuela.

Sobre o Instituto GTECHO
Instituto GTECH é uma organização social de finalidade pública, que atua na promoção de uma política de Arte-cidadania. Foi criado para formalizar e estruturar a ação social e cultural da GTECH Brasil e desenvolver uma política permanente de investimento e de compromisso social para a empresa.

A instituição tem obtido resultados positivos por meio do Asa – Oficina de Arte-cidadania, que já beneficiou em três anos de atuação mais de 2,5 mil estudantes de escolas públicas de São Paulo. São crianças e adolescentes de 7 a 17 anos que freqüentam, duas vezes por semana, dois ateliês: um equipado com materiais convencionais de arte e outro com computadores, scanner e Internet.

O curso gratuito tem duração de nove meses e apresenta conceitos básicos das artes visuais e história da arte. Os módulos pedagógicos visam estimular o aprimoramento da autoralidade e do autoconhecimento, pela via da arte, para o desenvolvimento da sensibilidade e talentos de cada participante. Na trajetória do Asa, percebeu-se, cada vez mais, a importância da expressão artística para desenvolver uma postura participativa e, portanto, de cidadania na vida dessas crianças e jovens.

The Art of Painting

An Andean Renaissance

The characters in his paintings are mostly brightly dressed Andean women wearing large hats. They toil at different tasks, such as picking flowers, white buds cottons, or bundles of wheat. All hide their faces from the viewer, beneath their hats or mantles, giving them an air of mystery, shyness, charm.

These enigmatic yet cheerful women are the creation of Jorge Quispe or “Quispejo,” the Andean artist who developed a new style of painting and who has undoubtedly become the country’s most imitated painter. Of course there is notorious difference between his work and those of his countless imitators, who sell their works in plazas and streets to many an unsuspecting buyer. But Quispejo also has many fans who recognize his sure strokes and unique mixing of colors and geometric shapes.

Quispejo is glad to have so many imitators. His dark face and features, normally fixed in an austere expression, lighten into a smile when he speaks of his imitators. “I never thought my style would be copied so often,” he says. “There are imitations made specially for tourists. They don’t bother me. Maybe I should even brag that it happens.”

Young painters who copy him sometimes apologize for doing so, Quispejo says. They also thank him for giving them a style that sells enough to feed their families.

Born in Marca, at the food of the Cordillera Negra, Quispejo reflects in his paintings the images of his childhood – the colorfully dressed peasants, the intensely blue skies, the ominous storm clouds, the fields of flowers whose colors bring the landscape alive.

Quispejo graduated en 1973 from the National Fine Arts School. He studied under Milner Cajahuaringa, already an established artist when he was teaching. Quispejo says he first experimented with the figurative style of his teacher and then moved on to develop Andean themes. He was initially concerned about painting Andean subjects because he thought art critics would accuse him of being too commercial.

With several exhibits around the world and paintings in private collections in Switzerland, Israel, and the US, Quispejo is proud of his style and ancestry which have allowed him to adorn his canvasses with images from his past.

Quispejo tries to accurately record his memories, and that is why he does not reveal the faces of his men and women. “Back then, people were evasive with strangers. Their custom, perhaps dating from the time their ancestors were slaves, was to be distrustful, fearful. When someone, spoke to them they lowered their heads, hiding their faces under the rim of their hats or mantles,” the artist says.

At, 46, Quispejo is at the height of his career. Late last year he exhibited his still life paintings, which contrasted with his usual Andean themes. He then participated with others artist in an important exhibit in Miami entitled “Rediscovering the Americas.” This exhibit contained works by painters from 21 countries in North, Central and South America and the showing proved such a success that a second one is being planned.

“I think the success of the show was due to the fact that Latin American painting is a new painting, full of youth and vitality. Throughout the world it is recognized as a pictorical style with specific characteristics. Some critics believe, and I think rightly so, that Latin American artist are the protagonist of a new worldwide Renaissance in painting.”

Looking ahead, Quispejo feels he still has much more to develop in his pictorical work and then he’d like to dedicate himself wholly to teaching.

“I think that those of us who have something to teach are under an obligation to do so. But in Peru, teaching is not a job, it’s a sacrifice,” says the artist.

Celinda Barreto F.

Source: Magazine The Lima Times. Lima, Perú. Vol. 19 #3. June 1994.