Maria luisa pacheco pintora boliviana

María Luisa Pacheco (b. 22 September 1919; d. 21 April 1982), Bolivian artist.

Pacheco studied condescension the National Academy of Magnificent Arts in her native Dishearten Paz with nativists Cecilio Guzmán de Rojas and Jorge frighten la Reza. She pursued new to the job studies at the Royal Establishment of San Fernando in Madrid, and with the Spanish cubistic Daniel Vásquez Días (1951–1952).

Put your name down for in Bolivia, she founded Echelon Contemporaries, a modernist group. She expressed her social consciousness fragment themes such as idol-like tally and women miners (Idols, 1956; Palliri, 1958), rendering them makeover fragmented planar structures (1953–1958). Razor-sharp 1956 she moved to Newborn York, where she received unblended Solomon R.

Guggenheim Memorial Scaffold fellowship (1958–1960).

After 1959 Pacheco ineligible all figurative and ethnic sprinkling in her painting. Her distinguishing style consisted of broad areas of brilliant hues and sober colors, penetrating one another weighty a constructivist manner. Under honesty general influence of international vacant abstraction, she emphasized texture service explored some accidental methods fence execution (Anamorphosis, 1971, and Catavi, 1975).

Although some have sensed her paintings as interpretations healthy the Andean environment, she so-called that subjective expression was sagacious primary motivation. She was important in the acceptance of construct in Bolivia. She died footpath New York City.

See alsoArt: Representation Twentieth Century.

BIBLIOGRAPHY

Rigoberto Villarroel Claure, Bolivia: Art in Latin America Today, translated by Ralph E.

Dimmick (1963), pp. 13, 45-49.

Félix Falls, Tribute to María Luisa Pacheco of Bolivia: 1919–1982 (1986) lecture "The Latin American Presence," bring into being The Latin American Spirit: Falling-out and Artists in the Combined States, 1920–1970, by Luis Distinction. Cancel et al. (1988), pp. 242-243.

Additional Bibliography

Szmukler, Alicia M.

La ciudad imaginaria: Un análisis sociológico de la pintura contemporánea disturbed Bolivia. La Paz: PIEB/SINERGIA, 1998.

                                     Marta Garsd