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Manuel de la Cruz Gonzalez: Transnationalism and the development of modern art in Costa Rica.

机译：曼努埃尔·德拉克鲁斯·冈萨雷斯：跨国主义与哥斯达黎加现代艺术的发展。

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摘要

While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama. This is not due to a lack of dedicated artistic effort in the isthmus, but rather to poor cultural infrastructure, which made being a modern artist in the region particularly challenging, and the underdeveloped state of local art histories, which have yet to traverse national borders. This oversight of Central American art makes it difficult to grasp the full scope of Latin America's adaptation of, and contribution to, international modernism. My dissertation counteracts the privileging of art from North and South America and introduces Costa Rican art history to an international audience by examining the art and life of Manuel de la Cruz Gonzalez Lujan (1909--1986), one of Costa Rica's most influential modern artists. It emphasizes the importance of the transnational cultural currents that influenced Gonzalez and his colleagues, and systematically discusses two fundamental phases of artistic growth in the country, the 1930s and the 1960s. By placing Gonzalez's artistic production within the socio-historic, cultural, and aesthetic contexts of Costa Rica, this dissertation is a groundbreaking case study of the development of modern art in this Central American nation.;Gonzalez prodded the boundaries of the provincial Costa Rican art world and moved beyond local frameworks to take part actively in the spread of modernist trends. He embraced regionalism, modernismo, and Latin American impressionism while in Costa Rica, and surrealism and geometric abstraction during the ten years he spent abroad in Cuba (1948--1950) and Venezuela (1950--1957). Upon his return, he shared his knowledge and experience of international modernism, but was faced with an unprepared and unpropitious artistic setting that neither accepted nor encouraged his geometric abstract art. What his story shows is that in order for a transnational style or idea to take hold in a country such as Costa Rica, which could be any "ex-centric" location, it is necessary to have a receptive context. This analysis of Gonzalez's career thus highlights the tension of being a provincial artist, attuned to transnational cultural flows, yet challenged by the limitations of his environment.
机译：当学者们越来越多地研究20世纪的拉丁美洲艺术并将其纳入现代艺术史的典范之时，该地区的研究通常从墨西哥跃升至南美，从而跳过了危地马拉，萨尔瓦多，洪都拉斯，伯利兹，尼加拉瓜，哥斯达黎加和巴拿马。这不是由于地峡缺乏专心的艺术创作，而是由于文化基础设施薄弱，使该地区的现代艺术家特别具有挑战性，以及尚未跨越国界的当地艺术史发展水平。对中美洲艺术的这种监督使得难以掌握拉丁美洲对国际现代主义的适应和贡献的全部范围。我的论文抵消了北美和南美的艺术特权，并通过考察哥斯达黎加最有影响力的现代艺术家之一的曼努埃尔·德拉克鲁兹·冈萨雷斯·鲁扬（1909--1986）的艺术和生活向国际观众介绍了哥斯达黎加的艺术史。它强调了影响冈萨雷斯及其同事的跨国文化潮流的重要性，并系统地论述了该国艺术发展的两个基本阶段，即1930年代和1960年代。通过将冈萨雷斯的艺术作品置于哥斯达黎加的社会历史，文化和美学背景下，本论文是对该中美洲国家现代艺术发展的开创性案例研究。冈萨雷斯推动了哥斯达黎加省级艺术的发展并超越了本地框架，积极参与现代主义趋势的传播。在哥斯达黎加期间，他拥护区域主义，现代主义和拉丁美洲印象派，在古巴（1948--1950）和委内瑞拉（1950--1957）出国旅行的十年间，他接受超现实主义和几何抽象。回国后，他分享了他对国际现代主义的知识和经验，但面临着既未接受又不鼓励他的几何抽象艺术的无准备且无利可图的艺术环境。他的故事表明，为了在像哥斯达黎加这样的国家（可能是任何“以中心为中心”的国家）中扎根跨国风格或思想，必须有一个接受的环境。因此，对冈萨雷斯的职业生涯的这种分析突显了成为一名省级艺术家的张力，它适应了跨国文化的流动，却受到其环境局限性的挑战。

著录项

  • 作者

    Bonilla-Merchav, Lauran.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Art history.;Latin American history.;Latin American studies.
  • 学位 Ph.D.
  • 年度 2014
  • 页码 275 p.
  • 总页数 275
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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