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Peruvian art has its origin in the Andean civilizations. These civilizations rose in the territory of modern Peru before the arrival of the Spanish.
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Peruvian art has its origin in the Andean civilizations. These civilizations rose in the territory of modern Peru before the arrival of the Spanish.
Peru's earliest artwork came from the Cupisnique culture, which was concentrated on the Pacific coast, and the Chavín culture, which was largely north of Lima between the Andean mountain ranges of the Cordillera Negra and the Cordillera Blanca. Decorative work from this era, approximately the 9th century BCE, was symbolic and religious in nature. The artists worked with gold, silver and ceramics to create a variety of sculpture and relief carvings. These civilizations were also known for their architecture and wood sculpture.
Between the 9th century BC and the 2nd century CE, the Paracas Cavernas and Paracas Necropolis cultures developed on the south coast of Peru. Paracas Cavernas produced complex polychrome and monochrome ceramics with religious representations. Burials from the Paracas Necropolis also yielded complex textiles, many produced with sophisticated geometric patterns.
The 3rd century BCE saw the flowering of the urban culture, Moche, in the Lambayeque region. The Mochica culture produced impressive architectural works, such as the Huacas del Sol y de la Luna and the Huaca Rajada of Sipan. They were expert at cultivation in terraces and hydraulic engineering and produced original ceramics, textiles, pictorial and sculptural works.
Another urban culture, the Wari civilization, flourished between the 8th and 12th centuries in Ayacucho. Their centralized town planning was extended to other areas, such as Pachacamac, Cajamarquilla and Wari Willka.
Between the 9th and 13th centuries CE, the military urban Tiwanaku empire rose by the borders of Lake Titicaca. Centered around a city of the same name in modern-day Bolivia, the Tiwanaku introduced stone architecture and sculpture of a monumental type. These works of architecture and art were made possible by the Tiwanaku's developing bronze, which enabled them to make the necessary tools.
Urban architecture reached a new height between the 14th and 15th centuries in the Chimú Culture. The Chimú built the city of Chan Chan in the valley of the Moche river, in La Libertad. The Chimú were skilled goldsmiths and created remarkable works of hydraulic engineering.[ citation needed ]
The Inca Civilization, which united Peru under its hegemony in the centuries immediately preceding the Spanish conquest, incorporated into their own works a great part of the cultural legacy of the civilizations which preceded it. Important relics of their artwork and architecture can be seen in cities like Cusco, architectural remains like Sacsahuaman and Machu Picchu and stone pavements that united Cusco with the rest of the Inca Empire.
Peruvian sculpture and painting began to define themselves from the ateliers founded by monks, who were strongly influenced by the Sevillian Baroque School. In this context, the stalls of the Cathedral choir, the fountain of the Main Square of Lima [2] both by Pedro de Noguera, and a great part of the colonial production were registered. The first center of art established by the Spanish was the Cuzco School that taught Quechua artists European painting styles. Diego Quispe Tito (1611-1681) was one of the first members of the Cuzco school and Marcos Zapata (1710-1773) was one of the last.
Painting of this time reflected a synthesis of European and indigenous influences, as is evident in the portrait of prisoner Atahualpa, by D. de Mora or in the canvases of the Italians Mateo Pérez de Alesio and Angelino Medoro, the Spaniards Francisco Bejarano and J. de Illescas and the Creole J. Rodriguez.
During the 17th and 18th centuries, the Baroque Style also dominated the field of plastic arts.
The image of Mary in Our Lady of Bethlehem hosts a lot of European styling and representations of the Western Mary. She is elevated from the ground, and is wearing a crown and has the faint image of a circular halo behind her head. She is being presented as cherubic figures pull back drapery, as if she is being "showcased." Surrounding her are small cherubic heads, often referred to as "puti's" in Southern American culture. They represent the innocence of children and act as a nod to her maternity and Jesus. She is dresses in obvious western, high-culture garments - highly adorned. Even the infant Christ is portrayed in western apparel.
In the 19th century, French neoclassic and romantic currents es in L. Montero, Ignacio Merino, Daniel Hernández Morillo and Francisco Masias.
The establishment of the Fine Arts School of Lima (1919) had a decisive influence on Peruvian sculpture and painting.
In sculpture, some of the most remarkable artists include Luis Agurto, L. Valdettaro, Joaquin Roca Rey, J. Piqueras, Alberto Guzmán, Victor Delfín and F. Sánchez. Among the painters, Daniel Hernández, R. Grau, Cesar Quispez Asin and Jose Sabogal are particularly notable. Sabogal headed the indigenous movement, which was one of the main influences on Peruvian contemporary painting. Among the most notable painters in the indigenous movement was Julia Codesido. [6] Some of the most widely recognized painters are Fernando de Szyszlo, Alberto Davila, Armando Villegas, Sabino Springett, Bernardo Rivero, J. Alberto Tello Montalvo, Victor Humareda, M. A. Cuadros, Ángel Chávez, Milner Cajahuaringa, Arturo Kubotta, Venancio Shinki, Alberto Quintanilla (wiki Es), G. Chávez, Tilsa Tsuchiya, David Herskowitz, Óscar Allain, Carlos Revilla, Sérvulo Gutiérrez and Amilcar Salomon Zorrilla (Peru).
In the field of photography, Martín Chambi made major contributions.
Teresa Burga was a multimedia artist that works with conceptual art since the 60s and 70s. She was a pioneer in media art, art and technology and installation art in Peru. She was one of the most important non-objectualist artists of those decades in Peru.
In sculpture Cristina Gálvez [7] was one of the most influential artists and art educators. In the 1980s after the art festival Contacta 1979 the group Huayco was created by Charo Noriega, Mariella Zevallos, Maria Luy, Armando Williams, Herbert Rodriguez and Juan Javier Salazar. This group appropriated the means of production and iconography of popular aesthetics. [8] Within the history of Contemporary Art in Peru the Third Biennial of Trujilo in 1990 played an important role. [9] This biennial included local artists as well as artists from neighboring countries. Jorge Eduardo Eielson and Jorge Piqueras were among the exhibiting artists that returned to Peru from Europe to participate within this biennial. It was the last biennial in Trujillo. In 1992 the artist Jaime Higa presented an exhibition at The Museum of Italian Art in Lima curated by Gustavo Buntinx. [10] The 80s were marked by the civil war and artists responded to the political situation. Among these artists are Eduardo Tokeshi, Ricardo Wiesse and Alfredo Marquez. Later on in 1997 the First Ibero American Biennial was produced in Lima directed by Luis Lama. This biennial allowed for the exchange of ideas and a wider exposure for Peruvian artists. A memorable moment within this biennial was the unexpected performance by Elena Tejada-Herrera, which became an milestone within the history of Peruvian performance art. In 1999 Tejada-Herrera was awarded the first prize in the contest Passport for and Artist with a performance for which she hired street sellers performing on the streets of Lima. [11] Another milestone in the history of contemporary Peruvian art is the Travestite Museum created by the philosopher and drag queen Giussepe Campuzano in 2003. [12]
Chulucanas pottery originates in the Piura Region. Inspired by pre-Incan ceramics, the bold, graphic pottery is now exported all over the world. [13] Designs are varied, but are predominated by black and white. There are several bigger companies but a lot of small manufactures are in Chulucanas itself and in the nearby villages of Quatro Esquinas.
The Ayacucho Region is known for its retablos, or devotional paintings. San Pedro de Cajas in Ayacucho produces collectible looms. Cusco artistans create stuffed animals and dolls. Cochas-Huancayo is known for its gourd art.
The term Peruvian literature not only refers to literature produced in the independent Republic of Peru, but also to literature produced in the Viceroyalty of Peru during the country's colonial period, and to oral artistic forms created by diverse ethnic groups that existed in the area during the prehispanic period, such as the Quechua, the Aymara and the Chanka South American native groups.
Christianity is the most widely professed religion in Peru, with Catholicism being its largest denomination.
The Cusco School or Cuzco School, was a Roman Catholic artistic tradition based in Cusco, Peru during the Colonial period, in the 16th, 17th and 18th centuries. It was not limited to Cusco only, but spread to other cities in the Andes, as well as to present day Ecuador and Bolivia.
Jorge Glusberg was an Argentine author, publisher, curator, professor, and conceptual artist.
Marcos Zapata, also called Marcos Sapaca Inca, was a Peruvian painter, born in Cuzco. He was one of the last members of the Cuzco School, an art center in which Spanish painters taught native students to paint religious works. In the Andean culture of Peru, Cuzco painters merged Christian symbols with indigenous Andean traditions. Zapata introduced elements from his own lands into his paintings. For instance, his 1753 rendering of the Last Supper shows Jesus and his twelve disciples gathering around a table laid with guinea pig and glasses of chicha. Guinea pigs, native to Peru and a culinary delicacy, play a significant role in Andean culture. They are used in Inca festivals as sacrificial animals, much like how lambs are used in traditional Christian ceremonies. In the painting, traditional elements like bread and ceremonial cups are joined by native foods such as potato, rocoto relleno, and corn. The blending of Andean culinary tradition with Christianity is a common theme in Cuzco paintings, especially as the painting's background features Christ on the Cross and Mary figures.
Oscar Coello, is a Peruvian poet, professor and literary critic. He holds the chairs of American literature, and rhythm at the National University of San Marcos in Lima.
Cristóbal de Aguilar was a Peruvian painter. He specialized in portraying members of Lima's nobility and the political elite of the Viceroyalty of Peru.
Jorge Villacorta is a Peruvian art critic and independent curator, with a strong interest in contemporary visual arts. He is also the co-founder and academic director of Alta Tecnologia Andina.
José-Carlos Mariátegui is a scientist, writer, curator and scholar on culture, new media and technology. Born in 1975, he is the son of Peruvian psychiatrist Javier Mariategui and the grandson of Jose Carlos Mariategui, the most influential Latin American Marxist thinker of the 20th century. He studied Mathematics and Biology at Cayetano Heredia University in Lima, Perú and did both Masters and Doctoral degrees in Information Systems and Innovation from the London School of Economics and Political Science – LSE (London). His PhD, dated 2013, was titled "Image, information and changing work practices: the case of the BBC’s Digital Media Initiative". Has been involved in teaching and research activities, as well as published a variety of articles on art, science, technology, society and development. He founded Alta Tecnología Andina (ATA), non-profit organization dedicated to the development and research of artistic and scientific theories in Latin America. Founder of the International Festival of Video and Electronic Art in Lima (1998–2003). Founding Director of the Museum of José Carlos Mariátegui of the Ministry of Culture in Peru. He is currently a Lecturer at LUISS (Rome), a Senior Visiting Research Fellow at the Department of Media and Communications at the LSE, a Board Member of Future Everything (UK) and Editorial Board member for the Leonardo Book Series at MIT Press.
Jorge Piqueras was a visual artist born in Peru and with Peruvian and Spanish nationality. Jorge Piqueras is recognized as one of the most important Peruvian artists of the twentieth century. Among contemporary Latin American artists, he stands out as a pioneer in geometric painting, as well as for his distinctive sculptural production. Piqueras’ work covers a wide range of materials and media, including sculpture, painting, collage, photography and assemblage.
Viracochapampa, Huiracochapampa, or Wiracochapampa is an archaeological site with the remains of a building complex of ancient Peru of pre-Inca times. It was one of the administrative centers of the Wari culture. Viracochapampa is located about 3.5 km north of Huamachuco in the region of La Libertad at an elevation of 3,070 metres (10,072 ft).
Fernando de la Jara is a Peruvian artist who has lived in Germany since 1987.
Luis Jose Antonio Miró Quesada Garland (1914-1994) was a Peruvian architect, professor, essay writer, art critic and a promoter of modern architecture in Peru. He played an important part in the process of change in Lima, from a society rooted in tradition and academic canon into a modern one. His actions were key to the social and urban changes, related to modern architecture and art, which happened during the 1940s. He died on 1994 at the age of 80 in Lima, Peru.
Regina Aprijaskis was a French artist established in Peru. She was known primarily for her pictorial production centered in geometrical abstraction.
The Lima Art Museum is an art museum in Lima, Peru. The museum is located in the Palacio de la Exposición. The museum was inaugurated in 1961. The collection includes ceramics and textiles. MALI is a private organization supported by admission fees, contributions from members, and private donations.
Luis Eduardo Valcárcel Vizcarra was a Peruvian historian, anthropologist, writer and activist. He was a researcher of pre-Hispanic Peru and one of the protagonists of the Indigenismo movement. He is considered the father of Peruvian anthropology, and his work focused on two fundamental axes: the revaluation of the Inca Empire and the vindication of the Andean culture. He brought awareness to the continuity that links the peasant of the Andes with the man of the Tahuantinsuyu.
Gloria Gómez-Sánchez (1921–2007), born Gloria Benvenuto Reffray de Gómez-Sánchez, was a Peruvian artist who formed part of the experimental scene in Lima during the late 1960s. Her practice moved through diverse trends and genres, including Pop art, informalism, happenings, and conceptual art.
José Gregorio Castro Miranda, O.F.M., was a Roman Catholic prelate who was Bishop of Cuzco from 1910 to 1917. He mainly worked to integrate the local indigenous population to the church's teachings by translating prayers and church music to Quechua.
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