{"title":"20世纪50年代波哥大的抽象艺术：评论家对艺术家和艺术家作为评论家的看法","authors":"Ivonne Pini, María Clara Bernal","doi":"10.7440/histcrit84.2022.04","DOIUrl":null,"url":null,"abstract":". Objective/Context: The 1950s was a critical decade regarding discussions about the relevance of abstraction as a visual language in the arts in Colombia. The encounters and disagreements in this regard between artists, critics, and the general public are a testimony of broader aspects, such as the search for a language of its own, the need to internationalize national art, the importance of educating about and through art","PeriodicalId":45016,"journal":{"name":"Historia Critica","volume":" ","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Arte abstracto en la década de 1950 en Bogotá: la mirada de los críticos a los artistas y los artistas como críticos\",\"authors\":\"Ivonne Pini, María Clara Bernal\",\"doi\":\"10.7440/histcrit84.2022.04\",\"DOIUrl\":null,\"url\":null,\"abstract\":\". Objective/Context: The 1950s was a critical decade regarding discussions about the relevance of abstraction as a visual language in the arts in Colombia. The encounters and disagreements in this regard between artists, critics, and the general public are a testimony of broader aspects, such as the search for a language of its own, the need to internationalize national art, the importance of educating about and through art\",\"PeriodicalId\":45016,\"journal\":{\"name\":\"Historia Critica\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Historia Critica\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.7440/histcrit84.2022.04\",\"RegionNum\":4,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"HISTORY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Historia Critica","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.7440/histcrit84.2022.04","RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"HISTORY","Score":null,"Total":0}
Arte abstracto en la década de 1950 en Bogotá: la mirada de los críticos a los artistas y los artistas como críticos
. Objective/Context: The 1950s was a critical decade regarding discussions about the relevance of abstraction as a visual language in the arts in Colombia. The encounters and disagreements in this regard between artists, critics, and the general public are a testimony of broader aspects, such as the search for a language of its own, the need to internationalize national art, the importance of educating about and through art
期刊介绍：
Historia Crítica es la revista del Departamento de Historia de la Universidad de los Andes (Bogotá, Colombia). Cumple con sus lectores desde su creación en 1989. La revista Historia Crítica tiene como objetivo publicar artículos inéditos de autores nacionales y extranjeros, que presenten resultados de investigación histórica o balances historiográficos, así como reflexiones académicas relacionadas con los estudios históricos. La calidad de los artículos se asegura mediante un proceso de evaluación interno y externo, el cual es realizado por pares académicos nacionales e internacionales.
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