La cautiva : Juan Manuel Blanes / Gabriel Peluffo Linari.

Format:

Book

Author/Creator:

Peluffo Linari, Gabriel, author.

Contributor:

Fundación "Alfredo Fortabat y Amalia Lacroze de Fortabat", issuing body.

Class of 1953 Fund.

Series:

Colección (detalle) ; 1.

Colección (detalle) ; 1

Language:

English

Spanish

Subjects (All):

Blanes, Juan Manuel, 1830-1901--Criticism and interpretation.

Blanes, Juan Manuel.

Blanes, Juan Manuel, 1830-1901. La Cautiva.

Blanes, Juan Manuel, 1830-1901.

Painting, Uruguayan--19th century.

Painting, Uruguayan.

Nationalism in art.

Criticism and interpretation.

Physical Description:

95 pages : illustrations (chiefly color) ; 15 cm.

Edition:

1a. edición ilustrada.

Place of Publication:

[Buenos Aires, Argentina] : Fundación Amalia Lacroze de Fortabat, 2018.

Language Note:

In Spanish.

Summary:

"La cautiva" (c.1880) was painted in Florence, Italy, as part of a series with Latin American themes of an allegorical nature that Juan Manuel Blanes undertook. In these works, the characters and the subject dealt with refer to the dichotomy civilization / barbarism. The barbarity is not only the Indians (on the other hand, a problem already solved) but, also, the revolted gauchos, the civil wars and the internal disorder. Civilization, in the allegory proposed by the artist, is carried out by a nude woman besieged by barbarism. The captive / rape is a recurrent theme in the arts of the Río de la Plata, an erotic myth that worked as a catalyst of hatred towards the indigenous people. In the center of the work, a half-naked white woman with her head raised looks towards the sky, ready to face her resigned fate. It is the prey and the booty of the cacique, who observes curious while approaching crouched. In the background you can see the toldería, on the right, and a group of Indians on horseback, the malón, which returns to it, to the left. The oil painting, realistic in nature, demonstrates the great virtuosity of Blanes both in the composition and in the drawing, and an excellent handling of light. All the works of this series are illuminated with a clear, diaphanous light, which leads the viewer to recall the desert. Although the center of the composition is placed by the artist in the female figure, the captive, does not neglect the theme of the desert that appears as the other great protagonist of the work.

"La cautiva" (c.1880) was painted in Florence, Italy, as part of a series with Latin American themes of an allegorical nature that Juan Manuel Blanes undertook. In these works, the characters and the subject dealt with refer to the dichotomy civilization / barbarism. The barbarity is not only the Indians (on the other hand, a problem already solved) but, also, the revolted gauchos, the civil wars and the internal disorder. Civilization, in the allegory proposed by the artist, is carried out by a nude woman besieged by barbarism. The captive / rape is a recurrent theme in the arts of the Río de la Plata, an erotic myth that worked as a catalyst of hatred towards the indigenous people. In the center of the work, a half-naked white woman with her head raised looks towards the sky, ready to face her resigned fate. It is the prey and the booty of the cacique, who observes curious while approaching crouched. In the background you can see the toldería, on the right, and a group of Indians on horseback, the malón, which returns to it, to the left. The oil painting, realistic in nature, demonstrates the great virtuosity of Blanes both in the composition and in the drawing, and an excellent handling of light. All the works of this series are illuminated with a clear, diaphanous light, which leads the viewer to recall the desert. Although the center of the composition is placed by the artist in the female figure, the captive, does not neglect the theme of the desert that appears as the other great protagonist of the work.

Contents:

Entre la barbarie campestre y la ciudad letrada

La cuestión del indio y las cautivas blancas sobre el trasfondo del dilema civilización versus barbarie

Blanes y la pintura de ideas

La representación del indio y el rapto de mujeres blancas en la pintura de Blanes.

Notes:

"Amalita: Colección de Arte Amalia Lacroze de Fortabat"--Verso Cover.

Includes bibligraphic references (page 67)

Local Notes:

Acquired for the Penn Libraries with assistance from the Class of 1953 Fund.

Contains:

Blanes, Juan Manuel, 1830-1901, artist.

ISBN:

9789874652089

987465208X

OCLC:

1105085257