Pub Date : 2020-12-25DOI: 10.31381/illapa.v0i17.3482
Manuel Munive Maco
Premio de Arte Contemporáneo ICPNA 2020 La Luz de la oscuridad. Nereida Apaza. Galería del Paseo
2020年ICPNA当代艺术奖:黑暗中的光。美人鱼Apaza。长廊
{"title":"Reseñas de Exposiciones 2020","authors":"Manuel Munive Maco","doi":"10.31381/illapa.v0i17.3482","DOIUrl":"https://doi.org/10.31381/illapa.v0i17.3482","url":null,"abstract":"Premio de Arte Contemporáneo ICPNA 2020 \u0000La Luz de la oscuridad. Nereida Apaza. Galería del Paseo ","PeriodicalId":56190,"journal":{"name":"Illapa","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44036036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-25DOI: 10.31381/ILLAPA.V0I17.3484
Luis Sihuacollo
{"title":"El ojo en la palabra. La crítica de arte de Teófilo Castillo en la serie de ensayos \"En viaje. Del Rímac al Plata\" (1917-1918) DE ENSAYOS “EN VIAJE. DEL RÍMAC AL PLATA” (1917-1918)","authors":"Luis Sihuacollo","doi":"10.31381/ILLAPA.V0I17.3484","DOIUrl":"https://doi.org/10.31381/ILLAPA.V0I17.3484","url":null,"abstract":"","PeriodicalId":56190,"journal":{"name":"Illapa","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43044717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31381/ILLAPA.V0I17.3467
J. Acevedo
{"title":"El aporte de Dare al humor gráfico en el Perú","authors":"J. Acevedo","doi":"10.31381/ILLAPA.V0I17.3467","DOIUrl":"https://doi.org/10.31381/ILLAPA.V0I17.3467","url":null,"abstract":"","PeriodicalId":56190,"journal":{"name":"Illapa","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42887150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-28DOI: 10.31381/illapa.v0i16.2581
Jaime Mariazza Foy
ResumenEste artículo propone el estudio de la pintura virreinal peruana desde el enfoque de las características sociales bajo las cuales se formaban los aprendices de pintor, sus alcances como estudiosos del natural y sus habilidades para reproducir diferentes tipos de texturas. De igual manera, se señala el grado de consideración social que las imágenes pintadas recibieron, por un lado, de parte de un estamento social culto y, por otro, como síntesis votiva y piadosa de un imaginario popular que alcanzaba a la mayor parte de la población. Hemos empleado el género del retrato como vía para explorar tentativamente las particularidades de la pintura durante los siglos XVI al XVIII.Palabras clave: pintura, virreinato, entorno social, estilo. AbstractThis article proposes the study of the Peruvian viceroyalty painting from the approach of the social characteristics under which the apprentices of the painter were formed, their scopes as studious of the natural one and their abilities to reproduce different types of textures. Similarly, the degree of social consideration that the painted images received, on the one hand, from an educated social class and, on the other, as a votive and pious synthesis of a popular imaginary that reached the majority of the population. We have used the genre of portraiture as a way to tentatively explore the particularities of painting during the 16th to 18th centuries.Keywords: painting, viceroyalty, social environment, style.
{"title":"Breves consideraciones sobre el retrato en la pintura virreinal peruana","authors":"Jaime Mariazza Foy","doi":"10.31381/illapa.v0i16.2581","DOIUrl":"https://doi.org/10.31381/illapa.v0i16.2581","url":null,"abstract":"ResumenEste artículo propone el estudio de la pintura virreinal peruana desde el enfoque de las características sociales bajo las cuales se formaban los aprendices de pintor, sus alcances como estudiosos del natural y sus habilidades para reproducir diferentes tipos de texturas. De igual manera, se señala el grado de consideración social que las imágenes pintadas recibieron, por un lado, de parte de un estamento social culto y, por otro, como síntesis votiva y piadosa de un imaginario popular que alcanzaba a la mayor parte de la población. Hemos empleado el género del retrato como vía para explorar tentativamente las particularidades de la pintura durante los siglos XVI al XVIII.Palabras clave: pintura, virreinato, entorno social, estilo. \u0000AbstractThis article proposes the study of the Peruvian viceroyalty painting from the approach of the social characteristics under which the apprentices of the painter were formed, their scopes as studious of the natural one and their abilities to reproduce different types of textures. Similarly, the degree of social consideration that the painted images received, on the one hand, from an educated social class and, on the other, as a votive and pious synthesis of a popular imaginary that reached the majority of the population. We have used the genre of portraiture as a way to tentatively explore the particularities of painting during the 16th to 18th centuries.Keywords: painting, viceroyalty, social environment, style.","PeriodicalId":56190,"journal":{"name":"Illapa","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46508776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-28DOI: 10.31381/illapa.v0i16.2589
Elio Martuccelli Casanova
ResumenEste artículo es una reflexión general sobre el significado del arte en la ciudad y, en particular, de lasesculturas públicas. Su objetivo es analizar puntualmente el caso de la estatua ecuestre en homenaje a Francisco Pizarro en la ciudad de Lima. Desde su inauguración en 1935 hasta la actualidad, el monumento se ha ubicado en tres lugares distintos. Las mudanzas han obedecido a distintas interpretaciones que el personaje ha tenido en el tiempo y a cambios en su significado.Palabras clave: Estatua ecuestre de Francisco Pizarro, Lima, arte, escultura, espacios públicos. AbstractThis article is a general reflection on the meaning of art in the city and, in particular, of public sculptures.Its objective is to analyze the case of the equestrian statue in homage to Francisco Pizarro in the city of Lima. From its inauguration in 1935 to the present day, the monument has been located in three different places. The changes have obeyed to different interpretations that the character has had in the time and to changes in its meaning.Keywords: equestrian statue of Francisco Pizarro, Lima, art, sculpture, public spaces.
{"title":"Estatuas móviles.","authors":"Elio Martuccelli Casanova","doi":"10.31381/illapa.v0i16.2589","DOIUrl":"https://doi.org/10.31381/illapa.v0i16.2589","url":null,"abstract":"ResumenEste artículo es una reflexión general sobre el significado del arte en la ciudad y, en particular, de lasesculturas públicas. Su objetivo es analizar puntualmente el caso de la estatua ecuestre en homenaje a Francisco Pizarro en la ciudad de Lima. Desde su inauguración en 1935 hasta la actualidad, el monumento se ha ubicado en tres lugares distintos. Las mudanzas han obedecido a distintas interpretaciones que el personaje ha tenido en el tiempo y a cambios en su significado.Palabras clave: Estatua ecuestre de Francisco Pizarro, Lima, arte, escultura, espacios públicos. \u0000AbstractThis article is a general reflection on the meaning of art in the city and, in particular, of public sculptures.Its objective is to analyze the case of the equestrian statue in homage to Francisco Pizarro in the city of Lima. From its inauguration in 1935 to the present day, the monument has been located in three different places. The changes have obeyed to different interpretations that the character has had in the time and to changes in its meaning.Keywords: equestrian statue of Francisco Pizarro, Lima, art, sculpture, public spaces.","PeriodicalId":56190,"journal":{"name":"Illapa","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45499895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-27DOI: 10.31381/illapa.v0i16.2566
J. M. Foy
ResumenEste artículo propone el estudio de la pintura virreinal peruana desde el enfoque de las característicassociales bajo las cuales se formaban los aprendices de pintor, sus alcances como estudiosos del naturaly sus habilidades para reproducir diferentes tipos de texturas. De igual manera, se señala el grado deconsideración social que las imágenes pintadas recibieron, por un lado, de parte de un estamento socialculto y, por otro, como síntesis votiva y piadosa de un imaginario popular que alcanzaba a la mayorparte de la población. Hemos empleado el género del retrato como vía para explorar tentativamentelas particularidades de la pintura durante los siglos XVI al XVIII.Palabras clave: pintura, virreinato, entorno social, estilo. AbstractThis article proposes the study of the Peruvian viceroyalty painting from the approach of the socialcharacteristics under which the apprentices of the painter were formed, their scopes as studious of thenatural one and their abilities to reproduce different types of textures. Similarly, the degree of socialconsideration that the painted images received, on the one hand, from an educated social class and,on the other, as a votive and pious synthesis of a popular imaginary that reached the majority of thepopulation. We have used the genre of portraiture as a way to tentatively explore the particularities ofpainting during the 16th to 18th centuries.Keywords: painting, viceroyalty, social environment, style.
{"title":"Breves consideraciones sobre el retrato en la pintura virreinal peruana","authors":"J. M. Foy","doi":"10.31381/illapa.v0i16.2566","DOIUrl":"https://doi.org/10.31381/illapa.v0i16.2566","url":null,"abstract":"ResumenEste artículo propone el estudio de la pintura virreinal peruana desde el enfoque de las característicassociales bajo las cuales se formaban los aprendices de pintor, sus alcances como estudiosos del naturaly sus habilidades para reproducir diferentes tipos de texturas. De igual manera, se señala el grado deconsideración social que las imágenes pintadas recibieron, por un lado, de parte de un estamento socialculto y, por otro, como síntesis votiva y piadosa de un imaginario popular que alcanzaba a la mayorparte de la población. Hemos empleado el género del retrato como vía para explorar tentativamentelas particularidades de la pintura durante los siglos XVI al XVIII.Palabras clave: pintura, virreinato, entorno social, estilo. \u0000AbstractThis article proposes the study of the Peruvian viceroyalty painting from the approach of the socialcharacteristics under which the apprentices of the painter were formed, their scopes as studious of thenatural one and their abilities to reproduce different types of textures. Similarly, the degree of socialconsideration that the painted images received, on the one hand, from an educated social class and,on the other, as a votive and pious synthesis of a popular imaginary that reached the majority of thepopulation. We have used the genre of portraiture as a way to tentatively explore the particularities ofpainting during the 16th to 18th centuries.Keywords: painting, viceroyalty, social environment, style.","PeriodicalId":56190,"journal":{"name":"Illapa","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48453469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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