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Art as a Source for the Study of Central America, 1945–1975: An Exploratory Essay

Published online by Cambridge University Press:  24 October 2022

Vera Blinn Reber
Vera Blinn Reber*
Affiliation:
Shippensburg State College
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“Artists are originators who reflect their native land if they know how to understand the joys and sorrows in the soul of its people; if they interpret them in line, color, stone or clay, in music or by word. If they feel and comprehend its landscape. If they eternalize it.”

Type
Research Article
Information
Latin American Research Review , Volume 13 , Issue 1 , 1978 , pp. 39 - 64
Copyright
Copyright © 1978 by the University of Texas Press

Footnotes

*

The author gratefully acknowledges a summer research grant from Shippensburg State College in 1973 that financed the initial research for this article. Thanks are also due to Dennis Castelli and Phyllis Erwin for comments on first drafts, Charles Loucks for helpful suggestions and editing on several drafts, and to Shirley Mellinger for the typing. The author took the accompanying photographs which the Shippensburg State College Media Service developed and enlarged.

References

Bibliography

This annotated bibliography, partial rather than exhaustive, represents the major materials available on Central American painting for the era 1945 to 1975. It should be emphasized that the best material, other than general surveys, is found in Central American cultural journals, often government publications, or in catalogs of exhibitions. With a few exceptions, the material on Central American artists is weak, tending toward short lauditory articles with rather limited description and analysis of the artist's work. The most useful part of the articles is generally the illustrations, too often in black and white. There are, of course, a few exceptions. For Costa Rica, the articles by Jorge Losada, Rómulo Tovar, and Salarrué on Max Jiménez give the spirit and the sense of the artist's work. The monograph prepared by the Dirección General de Artes y Letras of Costa Rica surveys fairly Costa Rican art. For El Salvador, the October-November-December 1970 issue of Cultura on Noe Canjura seeks to provide some depth of analysis on the artist and his work. Ricardo Martel Caminos' article on Salarrué, Herodier's article on Carlos Cañas, and José Sanz y Diaz's article on Salvadoran painters seek to provide depth of analysis and breadth of understanding.Google Scholar
The material on Guatemalan artists and their work is the best of the Central American nations. Of particular interest are both the works on engravings by Roberto Cabrera and the more extensive work of Edna Núñez de Rodas. Lionel Méndez Dávila's introduction to twentieth-century Guatemalan art reviews with illustrations the works of major artists, while the illustrations of Margarita Nelken's Carlos Mérida give a review of the various stages of the artist's work. Josefina Alonso de Rodríguez and other Guatemalan critics provide depth and solid analysis of the twentieth-century art movement of Guatemala. The work on Honduran art is disappointing, but both Luis Mariñas Otero and Mario Castillo seek to provide overviews of their nation's art. The material I found on Nicaraguan art is too limited to give a fair assessment, but without doubt the earthquake of December 1972 has set back a vibrant art school and made more difficult the study of Nicaraguan art.Google Scholar
Augelli, John P. and Stoksted, Marilyn. Pintores Centroamericanos: An Exhibition of Contemporary Art from Central America. (Dec. 1962–Jan. 1963). Lawrence, Kansas: Museum of Art, University of Kansas, 1962. The twenty-five black-and-white photographs of the works of Central American artists with a professional biography of each artist make this a useful work.Google Scholar
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Catlin, Stanton Loomis. Art of Latin America since Independence. New Haven: Yale University Press, 1966. Latin American art from 1785–1965 into five periods, the biographies of various painters, and the 111 black-and-white and five colored plates make this a helpful book.Google Scholar
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FernÁNdez, Justino. “The Source of American Art as Exemplified in the Case of Mexico.” Cultural Bases of Hemispheric Understanding. Proceedings of the Conference on Latin American Culture. Austin: University of Texas Press, 1942, pp. 15–31. One of the papers read at the conference that examines the development of the artistic conscience in Mexico. The emphasis on how social changes are reflected in art suggests new ways of using art in understanding Latin America.Google Scholar
GarcÍA Cisneros, Florenceo. Latin American Painters in New York. Privately printed, 1964.Google Scholar
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INTERNATIONAL BUSINESS MACHINES CORPORATION. Contemporary Pan-American Art; A Special Loan Exhibition of Paintings from the International Business Machines Corporation Collection of Art from Seven Countries. New York: IBM, 1940. Reissued catalog of a circulating exhibition. Each painter's work is reproduced, his portrait is shown, and there is a short essay on the art of his/her country.Google Scholar
INTERNATIONAL BUSINESS MACHINES CORPORATION. Fifty Latin American Prints. Assembled by the American National Committee of Engraving. New York: IBM, n.d. [1946]. Costa Rica, El Salvador, Guatemala, and Nicaragua are represented by artists in this collection.Google Scholar
INTERNATIONAL BUSINESS MACHINES CORPORATION. Seventy-Five Latin American Prints. Assembled by the American National Committee of Engraving. New York: IBM, n.d. [1946]. This was the first large exhibition of graphic arts from Latin America shown in the United States. There is no text, but sixty artists are represented by plates, including several from the Central American countries.Google Scholar
LÓPEZ, MATILDE ELENA. Interpretación social del arte. San Salvador: Ministerio de Educación, Dirección General de Publicaciones, 1965. The philosophical interpretation of art is discussed within a broader social context.Google Scholar
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PAN AMERICAN UNION. Children in Latin American Art. Washington, D.C.: OAS, 1945. Examples of the work of twelve Latin American artists with their biographies.Google Scholar
PAN AMERICAN UNION. Esso Salon of Young Artists. Washington: Pan American Union, 1965. A catalog of an exhibition of Central American art prepared by Esso and the Pan American Union with an introductory essay by José Gómez-Sicre. Contains good plates, some in color, plus biographies of the artists.Google Scholar
PAN AMERICAN UNION, DIVISION OF INTELLECTUAL COOPERATION. Contemporary Art in Latin America. Washington, D.C.: OAS, 1945. A portfolio of reproductions of paintings and sculptures by Latin Americans with information on the artists.Google Scholar
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GÓMEZ-SICRE, JOSÉ. “Drawings at the PAU.” Américas 11 (June 1959):22–25. Rodolfo Abularach represents Guatemala in this collection.Google Scholar
GonzÁLez Goyri, ÓScar. “Julio Urruela Vásquez.” SALON 13 (Guatemala) 3, no. 3 (set. 1962):55–65. Discusses artist's main work of stained glass windows in the National Palace of Guatemala City.Google Scholar
GonzÁLez Goyri, ÓScar. “Rafael Rodríguez Padilla.” SALON 13 (Guatemala) 13, no. 1 (marzo 1962): 55–65.Google Scholar
GonzÁLez Goyri, Roberto. “”El arte guatemalteco en el Museo de Arte Moderno de Nueva York: IV Carlos Mérida.“ SALON 13 (Guatemala) 1, no. 4 (nov. 1960):50–64.Google Scholar
GonzÁLez Goyri, Roberto. “El arte guatemalteco en el Museo de Arte Moderno de Nueva York: III Rodolfo Abularach.” SALON 13 (Guatemala) 1, no. 3 (ag. 1960):43–56.Google Scholar
GonzÁLez Goyri, Roberto. “Integración de las artes plásticas en el siglo XX en Guatemala.” Arte Contemporáneo, edited by de Rodríguez, Josefina Alonso, Guatemala: Universidad de San Carlos, 1966, pp. 93–101. Argues that the integration of arts—painting, sculpture, architecture—does not exist in twentieth-century Guatemala in the same sense as the Gothic cathedral because modern life is not integrated.Google Scholar
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Grajeda Mena, Guillermo. “Rafael Rodríguez Padilla, 1890–1929.” Artes Plásticas (Guatemala), no. 6 (jul. 1973):19–23. Rather laudatory article.Google Scholar
GUATEMALA. DIRECCIÓN GENERAL DE CULTURA Y BELLAS ARTES. El Diseño, la composición y la integración plástica de Carlos Mérida. Guatemala: Organismo de Promoción Internacional de Cultura, 1966. In reality this is a catalog of an exhibition with a short introductory essay and black-and-white plates. Of particular use is the location of the murals done by Mérida between 1948 and 1965.Google Scholar
GUATEMALA. MINISTERIO DE EDUCACIÓN PÚBLICA, DIRECCIÓN GENERAL DE CULTURA Y BELLAS ARTES. Pintores de Guatemala, Vol. 1, 1968. Includes thirty-one plates, twelve in color.Google Scholar
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MÉNDEZ DÁVILA, LIONEL. Arte vanguardia: Guatemala. Guatemala: Universidad de San Carlos, 1969.Google Scholar
MÉRIDA, CARLOS. “Art Interpretations.” Mexican Life (Mexico) 2, no. 1 (Jan. 1926):16–17.Google Scholar
MÉRIDA, CARLOS. “Carlos Valenti.” SALON 13 (Guatemala) 2, no. 2 (mayo 1961):38–50. Valenti, who died at twenty-two, is seen as an important figure in the Guatemalan modern art movement. Of particular interest are the plates, since it is difficult to find examples of his work.Google Scholar
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Nelken, Margarita. Carlos Mérida. México: Universidad Nacional Autónoma de México, Dirección General de Publicaciones, 1961. Although the author spends too much time trying to prove that Mérida is within the Mexican school and Mexican, the eighty-four plates redeem the work.Google Scholar
NÚÑEZ DE RODAS, EDNA ISABEL. El Grabado en Guatemala. Guatemala: Talleres Litográficos del Instituto Geográfica Nacional, 1970. A thorough history of engraving in Guatemala from pre-Columbian to 1970. Includes footnotes, documents from the archives on engraving, and 128 black-and-white illustrations.Google Scholar
“Obras de Mérida.” Contemporáneos (México) 1, no. 6 (nov. 1928):266–71.Google Scholar
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Rivera, William M. “Rodolfo Abularach.” Américas 12, no. 4 (Mar. 1960):32–34.Google Scholar
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“Sentir y pensar del artists.” Artes Plásticas (Guatemala) (oct.-nov. 1970):18–24.Google Scholar
Mariano GÁLvez., Universidad Dr. Seminario sobre el maestro de artes plásticas en Guatemala. Guatemala, 1972.Google Scholar
VÁSQUEZ C., DAGOBERTO. “Medio siglo de arte guatemalteco.” Arte Contemporáneo, edited by de Rodríguez, Josefina Alonso, Guatemala: Universidad de San Carlos, 1966, pp. 9–17. Discusses various Guatemalan painters of significance in the 1950s, suggests two stages in contemporary Guatemalan painting—1900–1944 to the present, notes two parallel developments in Guatemalan art—one national-indigenous, the other international.Google Scholar
VelÁZquez, Alberto. “Semblanza de Miguel Arcángel de León.” SALON 13 (Guatemala) 3, no. 2 (jun. 1962):46–70.Google Scholar
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Westheim, Paul. La Obra de Carlos Mérida. Guatemala: Museo Nacional de Arte Moderno/Instituto Nacional de Bellas Artes, Departamento de Artes Plásticas, Secretaria de Educación Pública, 1961. Short essay on Mérida, four colored plates plus thirty-six black-and-white ones.Google Scholar
Acosta, Oscar (Ed.). Imágenes de Honduras. Edición Extraordinaria, no. 74, año 7 (set. 1971). Tegucigalpa: Editorial Nuevo Continente, 1971. Chapters on various aspects of Honduras including a chapter on painting.Google Scholar
Amighetti, Francisco. “La exposición del pintor hondureño Arturo López Rodezno.” Brecha, año 3, no. 10 (jun. 1959):22–24. Although main discussion is on López Rodezno, he is compared with other artists of this century.Google Scholar
Castillo, Mario M. (Ed.). El Arte contemporáneo en Honduras. Tegucigalpa: Servicio de Información de los Estados Unidos de América, 1968. Includes biographies and illustrations of seventeen artists, with seventeen colored plates; excellent introduction to contemporary art of Honduras.Google Scholar
Lara Cerrato, Fausto. Aspectos culturales de Honduras. Tegucigalpa: Tipografía Nacional, 1951. Very limited material on art.Google Scholar
Luarca, Francisco. “Pablo Zelaya pintor hondureño.” Repertorio Americano 33 (26 jun. 1937):386.Google Scholar
MariÑAs Otero, Luis. La pintura en Honduras. Tegucigalpa: Universidad Nacional Autónoma de Honduras, Departamento de Extensión Universitaria, 1959. Satisfactory survey of nineteenth- and twentieth-century art in Honduras.Google Scholar
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SÁNCHEZ, ROBERTO M. (ED.). Arte: órgano de devulgación de la Escuela Nacional de Bellas Artes. Tegucigalpa: Imprenta Calderón, 1972. Of most interest in this collection of articles is the one by Pablo Zelaya Sierra, which is concerned with the three groups of artists that are the basis of a modern school of art.Google Scholar
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Beals, Carleton and Kaye, Rebecca. “The New Genre of Robert de la Selva.” Mexican Life (Aug. 1934), pp. 28–30. Illustration of the artist's work with emphasis on the Mexican influence.Google Scholar
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Cuadra, Pablo Antonio. Nueve pintores nicaraguenses. Madrid, 1974. A catalog of an exhibition of nine Nicaraguan painters presented in Spain in 1974 by the Instituto de Cultura Hispanica and the Spanish Embassy of Nicaragua. Included among the artists are Alejandro Aróstigui, Omar D'Leon Lacayo, and Orlando Sabalvarro.Google Scholar
Cuadra, Pablo Antonio. “Nicaragua's New Artists.” Américas 6, no. 2 (Feb. 1954):16–19. Discussion of nine Nicaraguan artists with illustrations of their work.Google Scholar
GÓMEZ-SICRE, JOSÉ. “Embroidery in Oils: Asilia Guillén of Nicaragua.” Américas 14, no. 10 (Oct. 1962):17–20. An illustrated article that discusses this primitivist change in media from embroidery to oil.Google Scholar
Penalva, A. “La pintura en Nicaragua.” Américas, Revista de la Asociación de Escritores y Artistas Americanos-La Habana (set. 1939), pp. 19–21. This weak, general article comments on colonial, nineteenth-century, and twentieth-century artists.Google Scholar
Augelli, John P. and Stoksted, Marilyn. Pintores Centroamericanos: An Exhibition of Contemporary Art from Central America. (Dec. 1962–Jan. 1963). Lawrence, Kansas: Museum of Art, University of Kansas, 1962. The twenty-five black-and-white photographs of the works of Central American artists with a professional biography of each artist make this a useful work.Google Scholar
Castedo, Leopoldo. A History of Latin Ameircan Art and Architecture from Pre-Columbian Times to Present, translated by Freeman, Phylis. New York: Frederick A. Praeger, 1969. This useful general survey of Latin American art contains but three chapters on the twentieth century and very little on Central America.Google Scholar
Catlin, Stanton Loomis. Art of Latin America since Independence. New Haven: Yale University Press, 1966. Latin American art from 1785–1965 into five periods, the biographies of various painters, and the 111 black-and-white and five colored plates make this a helpful book.Google Scholar
Catlin, Stanton Loomis. “New Vistas in Latin American Art.” Art in America 47, no. 3 (Fall 1959):24–31. Discusses the new influences in Latin American painting.Google Scholar
Chase, Gilbert. Contemporary Art in Latin America. New York: Free Press, 1970. The major work in English on twentieth-century Latin American art, although containing a minimum of material on Central America.Google Scholar
Damaz, Paul F. Art in Latin American Architecture. New York: Reinhold, 1963. Surveys Latin American architecture and emphasizes the integration of the arts.Google Scholar
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FernÁNdez, Justino. “The Source of American Art as Exemplified in the Case of Mexico.” Cultural Bases of Hemispheric Understanding. Proceedings of the Conference on Latin American Culture. Austin: University of Texas Press, 1942, pp. 15–31. One of the papers read at the conference that examines the development of the artistic conscience in Mexico. The emphasis on how social changes are reflected in art suggests new ways of using art in understanding Latin America.Google Scholar
GarcÍA Cisneros, Florenceo. Latin American Painters in New York. Privately printed, 1964.Google Scholar
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GÓMEZ-SICRE, JOSÉ. “Dibujos Latinoamericanos.” Art News 45, no. 8 (Oct. 1946):40, 72–73. Review of an exhibition of contemporary Latin American drawing.Google Scholar
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Grieder, Terence and Berry, Charles. Bibliography of Latin American Philosophy and Art since Independence. Austin: University of Texas, Institute of Latin American Studies, 1964.Google Scholar
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INTERNATIONAL BUSINESS MACHINES CORPORATION. Contemporary Pan-American Art; A Special Loan Exhibition of Paintings from the International Business Machines Corporation Collection of Art from Seven Countries. New York: IBM, 1940. Reissued catalog of a circulating exhibition. Each painter's work is reproduced, his portrait is shown, and there is a short essay on the art of his/her country.Google Scholar
INTERNATIONAL BUSINESS MACHINES CORPORATION. Fifty Latin American Prints. Assembled by the American National Committee of Engraving. New York: IBM, n.d. [1946]. Costa Rica, El Salvador, Guatemala, and Nicaragua are represented by artists in this collection.Google Scholar
INTERNATIONAL BUSINESS MACHINES CORPORATION. Seventy-Five Latin American Prints. Assembled by the American National Committee of Engraving. New York: IBM, n.d. [1946]. This was the first large exhibition of graphic arts from Latin America shown in the United States. There is no text, but sixty artists are represented by plates, including several from the Central American countries.Google Scholar
LÓPEZ, MATILDE ELENA. Interpretación social del arte. San Salvador: Ministerio de Educación, Dirección General de Publicaciones, 1965. The philosophical interpretation of art is discussed within a broader social context.Google Scholar
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Messer, Thomas M. and Capa, Cornell. The Emergent Decade: Latin American Painters and Painting in the 1960s. Ithaca: Cornell University Press, 1960. No Central American artists are considered in this fascinating collection.Google Scholar
PAN AMERICAN UNION. Children in Latin American Art. Washington, D.C.: OAS, 1945. Examples of the work of twelve Latin American artists with their biographies.Google Scholar
PAN AMERICAN UNION. Esso Salon of Young Artists. Washington: Pan American Union, 1965. A catalog of an exhibition of Central American art prepared by Esso and the Pan American Union with an introductory essay by José Gómez-Sicre. Contains good plates, some in color, plus biographies of the artists.Google Scholar
PAN AMERICAN UNION, DIVISION OF INTELLECTUAL COOPERATION. Contemporary Art in Latin America. Washington, D.C.: OAS, 1945. A portfolio of reproductions of paintings and sculptures by Latin Americans with information on the artists.Google Scholar
PAN AMERICAN UNION, DIVISION OF INTELLECTUAL COOPERATION. Contemporary Art in Latin America. Washington, D.C.: OAS, n.d. [1951]. Thirty-eight photographs of the works of outstanding Latin American artists.Google Scholar
PAN AMERICAN UNION, VISUAL ARTS SECTION. Permanent Collection of Contemporary Art of Latin America. Washington, D.C.: Pan American Union, Organization of American States, 1960. A catalog of the collection at the OAS.Google Scholar
Parker, Franklin D. The Central American Republics. London: Oxford University Press, 1964. A historical survey of Central America which contains a short section on the arts.Google Scholar
Rabb, Theodore K. “Historian and the Art Historian.” Journal of Interdisciplinary History 4, no. 1 (Summer 1973):107–17. A case is made for the historian to consider using art as a source for history.CrossRefGoogle Scholar
Rodman, Selden. “Painting and Politics in Central America.” New Leader; American Labor Conference on International Affairs, (East Stroudsburg, Pennsylvania) 54, no. 16, 9 (Aug. 1971):10–12. Discusses various artists of Central America such as Efrain Recinos, Roberto Cabrera, Elmar Rojas, and Amoldo Ramírez Amayo of Guatemala, and Velásquez of Honduras very superficially.Google Scholar
RodrÍGuez, Mario and Peloso, Vincent C. A Guide for the Study of Culture in Central American Humanities and Social Sciences. Washington: Pan American Union, Division of Philosophy and Letters, 1968.Google Scholar
SANTONASTASIO DE MONGE, MAGDA. Arte americano a año. San José, Costa Rica: Ministerio de Educación Pública, 1967. A very general survey of art in America with four pages on Central America.Google Scholar
Sanz Y DÍAz, JosÉ. Pintores hispanoamericanos contemporáneos. Barcelona: Editoria Iberia, 1953. A rapid survey of modern Latin American art to 1950 which discusses Central American and Panamanian art in eight pages.Google Scholar
Smith, Robert C. “Return to Naturalism.” Inter-American Monthly 1, no. 1 (May 1942):14–17ff. Describes the contemporary status of Latin American painting and emphasizes the debt of the Mexican school to both pre-Columbian art and the Iberian tradition.Google Scholar
Smith, Robert C. “Latin American Painting Comes into Its Own.” Inter-American Quarterly 2, no. 3 (July 1940):24–35. Although he notes that the artistic revolution that occurred in Mexico under the muralist movement encourages critics to examine Latin American painting, he barely mentions Central America.Google Scholar
Smith, Robert C. and Wilder, Elizabeth (EDS.). A Guide to the Art of Latin America. Washington: The Library of Congress, Hispanic Foundation, Latin American Series, No. 21, 1948. A bibliographical index of books and articles published before 1942; an indispensable aid.Google Scholar
Solochek, Sylvia and Loescher, Robert. “Images of America.” The New Idea (University of Wisconsin) 1, no. 7 (Feb. 1959):19–23. Discusses contemporary Latin American art based on an exhibition in Mexico City in 1958. Well written and gives vivid descriptions of the various paintings, thus providing an example that should be followed.Google Scholar
Szyszlo, Fernando De. “Contemporary Latin American Painting.” College Art Journal (College Art Association of America, New York) 19, no. 2 (Winter 1959–60):134–45. In evaluating the new approaches to art in Latin America, the author emphasizes the significance of the pre-Columbian influence.Google Scholar
Traba, Marta. Arte latinoamericano actual. Caracas: Ediciones de la biblioteca de la Universidad Central de Venezuela [1972]. An excellent little book analyzing the characteristics of Latin American art from 1945 to 1970. Although the book rarely deals with Central America, much of the analysis is applicable. Of particular interest are the differences in art between open and closed countries, the documentation of increased United States influence on Latin American art, and the growth of the political awareness of artists.Google Scholar
Traba, Marta. Dos décadas vulnerables en las artes plásticas latinoamericanas, 1950–1970. México: Siglo Veintiuno Editores, 1973. Develops in more detail much of the material discussed in the previous book. She defines more clearly the distinctions between art of the 1950s and of the 1960s.Google Scholar
Traba, Marta. La pintura nueva en latinoamérica. Bogotá: Ediciones Librería Central, 1961. Although the book defines patterns of modern Latin American art and discusses art movements and artists, it is not as good as latter work.Google Scholar
Wheeler, Monroe. Looking South—Latin American Art in New York Collections. Center for Inter-American Relations, 1972. Catalog of major Latin American artists with a few representatives of Central America.Google Scholar
Amighetti, Francisco. “La Pintura de Manuel de la Cruz González.” Brecha (Costa Rica) 3, no. 7 (marzo 1959):10–12.Google Scholar
Amighetti, Francisco. “La Pintura de Max Jiménez.” Artes y Letras 1, no. 4 (1966):3–6.Google Scholar
Amighetti, Francisco. Francisco en Harlem. México: Galería de Arte Centroamericano, 1957. Of interest are the thirty-one block prints which describe Amighetti's experience while living in Harlem.Google Scholar
Amighetti, Francisco. Francisco y los caminos. San José: Editorial Costa Rica, 1963. Seventy-nine block prints illustrate Amighetti's travel to Buenos Aires, Argentina; Taos, New Mexico; Harlem, New York; and Arequipa, Peru.Google Scholar
Amighetti, Francisco. “Los modernos primitivos.” Artes y Letras 1, no. 10 (1969):30–31.Google Scholar
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Costa Rica, DirecciÓN General De Artes Y Letras. Arte costarricense: estudios, biografías y láminas. San José: Galería Amighetti, n.d. [1969]. This excellent monograph discusses Costa Rican art, gives the biography of sixteen artists, and is illustrated by forty-four plates in black and white.Google Scholar
EchevarrÍA LorÍA, Arturo. “Lo abstracto, el medio y dos pintores.” Brecha (Costa Rica) 4, no. 11 (jul. 1960):11–12. Discusses artists Manuel de la Cruz González and Rafael Angel García Picado.Google Scholar
EchevarrÍA LorÍA, Arturo. De artes y de letras: opiniones. San José, Costa Rica: Editorial Costa Rica, 1972. Contains articles, commentary, and short essays on Costa Rican artists reprinted from Repertorio Americano and Brecha.Google Scholar
EchevarrÍA LorÍA, Arturo. “Floria Pinto de Herrero y la creación artística.” Brecha (Costa Rica) 5, no. 9 (mayo 1961):1–2.Google Scholar
EchevarrÍA LorÍA, Arturo. “Francisco Zúñiga, auténtico y noble artista.” Brecha (Costa Rica) 6, no. 4 (dic. 1961):1–2.Google Scholar
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Franck, Carlos (Ed.). Jorge Gallardo. San José: Editorial Costa Rica, 1971. A lauditory statement with twenty-six drawings by Gallardo. Best article in the collection is by Jorge Debravo, “Jorge Gallardo, un pintor fiel a su pueblo y a si mismo.”Google Scholar
Georges-Michel, Michel. “Max Jiménez.” Repertorio Americano (Costa Rica) 39, no. 7 (11 abr. 1942):102.Google Scholar
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Losada, Jorge A. “La pintura de Max Jiménez.” Norte (New York) 1, no. 6 (marzo 1941):24–25. Includes five examples of the painter's work showing his versatility as well as sound discussion of his painting.Google Scholar
Manuel, Juan. “El Escultor Juan Rafael Chacón.” Brecha (Costa Rica) 6, no. 6 (feb. 1962):1–2.Google Scholar
“Max Jiménez como pintor.” Repertorio Americano (Costa Rica) 37, no. 8 (30 marzo 1940):125–27.Google Scholar
“Max Jiménez Exhibition: Georgelle Passedoit Gallery.” Art Digest (New York) 14, no. 11 (Mar. 1940):8.Google Scholar
“Max Jiménez y la 2 da exposición de sus cuadros en la Passedoit Gallery, New York. … La estimación extranjero.” Repertorio Americano (Costa Rica) 38, no. 7 (26 abr. 1941):104–5.Google Scholar
Prieto, Emilia. “Manuel de la Cruz González, un pintor costarricense.” Repertorio Americano (Costa Rica) 37, no. 22 (12 oct. 1940):435–46.Google Scholar
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Ruiz Solorzano, Vilma. 25 Dibujos de Alvarado Abella. San José: Editorial Costa Rica, 1971.Google Scholar
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Cardoza Y AragÓN, Luis. “Desarrollo de la pintura en el Salvador I.” Vaya (El Salvador), marzo-abr. 1973, pp. 31–32.Google Scholar
“Carlos Augusto Cañas.” Cultura (Revista de Ministero de Educación, El Salvador), no. 2 (marzo-abr. 1953):75–78. Includes seven black-and-white plates of Cañas.Google Scholar
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Elas Reyes, RaÚL. “Noe Canjura.” Cultura (Revista del Ministerio de Educación, El Salvador), no. 58 (oct.-nov.-dic. 1970):19–21. One of several articles in a whole issue devoted to Noe Canjura.Google Scholar
HernÁNdez Aguirre, Mario. “La Magia de Canjura.” Cultura (Revista del Ministerio de Educación, El Salvador), no. 58 (oct.-nov.-dic. 1970):12–14.Google Scholar
HernÁNdez Quintanilla, RamÓN. “Pierre de Matheu, el artista que permanece fiel a la patria.” Síntesis, no. 3 (jun. 1954):61–64. Short article on the El Salvadoran artist who seems to be in the “art for art's sake” school, thus not a good source for understanding Latin America.Google Scholar
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Koessler, M. L. “Bellas Artes.” Vaya (El Salvador), feb. 1973, pp. 25–27, 76. An interview with a young El Salvadoran painter, Antonio Guandique, and his perspective on art. Article illustrated by a number of examples of his paintings.Google Scholar
LeÓN, Trigueros De. “La pintura de Rául Elas Reyes.” Cultura (Revista del Ministerio de Educación, El Salvador), no. 6 (nov.-dic. 1955):90–98. A very short article, but twelve plates.Google Scholar
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Martel Caminos, Ricardo. “La nueva pintura de Salarrué.” Cultura (Revista del Ministerio de Educación, El Salvador), no. 13 (abr.-jun. 1958):103–5. An excellent interview with Salarrué in which the artist discusses his paintings. Includes twelve black-and-white plates.Google Scholar
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“Pintores Salvadoreños.” Cultura (Revista del Ministerio de Educación, El Salvador), no. 7 (enero-feb. 1956):86–94. Sixteen plates illustrate the work of various El Salvadoran artists.Google Scholar
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“Acuarelas y dibujos de Carlos Mérida.” Contemporaneos (México) 2, no. 38 (jul.-ag. 1931):80–86. Watercolors and drawings, no text.Google Scholar
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Cabrera, Roberto. El Grabado Guatemalteco. Guatemala: Dirección General de Cultura y Bellas Artes, 1973. A short written history of Guatemalan engravings illustrated by a substantial number of plates. A good summary.Google Scholar
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Cabrera, Roberto. “La pintura de Arturo Martínez como expresión plástica Guatemala.” Artes Plásticas (Guatemala) (oct.-nov. 1970):2–12. Review of an exhibition in 1970 of work of Arturo Martínez with an introduction by Cabrera.Google Scholar
Cardoza Y AragÓN, Luis. La nube y el reloj: pintura mexicana contemporánea. México: Ediciones de la Universidad Nacional Autónoma, 1940. Includes a chapter on Carlos Mérida.Google Scholar
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GUATEMALA. DIRECCIÓN GENERAL DE CULTURA Y BELLAS ARTES. El Diseño, la composición y la integración plástica de Carlos Mérida. Guatemala: Organismo de Promoción Internacional de Cultura, 1966. In reality this is a catalog of an exhibition with a short introductory essay and black-and-white plates. Of particular use is the location of the murals done by Mérida between 1948 and 1965.Google Scholar
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“Obras de Mérida.” Contemporáneos (México) 1, no. 6 (nov. 1928):266–71.Google Scholar
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