Painting in Ayacucho in the 80’s
DOI:
https://doi.org/10.15381/h29nwr17Keywords:
painting, style, figuration, symbolism, messageAbstract
In a global framework, many social, cultural and political events had an impact on Peruvian plastic arts in the 1980s; however, many regions and towns far from the capital were relegated and ignored, thus evidencing a pictorial centralism aligned with contemporary Lima arts. In the case of Ayacuchana painting, it shows a figurative production with some deficiencies in drawing and color in the midst of a very handcuffed social and political context due to the internal armed conflict. There were very tense moments in the corridors and classrooms of the “Felipe Guamán Poma de Ayala” School of Fine Arts, these conditions connote limitations to a visual creation in a first period (1980-1985) traditionalist and costumbrista painting, then sensations are expressed and emotions to conflicting events where the victims were Andean men (1986-1989) with a testimonial painting. In this way, the following question is posed: To what extent does Ayacuchana painting express its tradition and local history in the 80s? To respond, a methodology of visual analysis of the content and message will be used, developing a descriptive, analytical and critical study of each of the works chosen for this study.
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