Latin American Art || Herman Braun-Vega

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  • Herman Braun-VegaAuthor(s): Luis CamnitzerSource: Art Journal, Vol. 51, No. 4, Latin American Art (Winter, 1992), p. 7Published by: College Art AssociationStable URL: http://www.jstor.org/stable/777271 .Accessed: 15/06/2014 18:51

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  • Herman Braun- Vega PERU

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    Herman Braun-Vega, H6tel du Sud after Veldzquez, Manet, Ingres, and Matisse, 1985, triptych, acrylic and collage on canvas, 764 x 153Y2 inches. Collection of S. and T. Bocahut.

    I placed the characters of Las Meninas on the outside panels, in direct contact with the mestizos, in order to remind us that the Spaniards participated in the mestizaje process from the

    very beginning. The deformed Ingres-like nude in the left

    panel serves to emphasize the French cultural presence in Peru from Independence until the eve of the Second World War. I have depicted her with Picassoesque deformations because French culture, though present in an elitist fashion, particularly in architecture, did not merge with popular Peruvian culture. In the central panel of the painting I placed the Infanta tending pigs-the same animals that the con-

    queror Francisco Pizarro guarded during his childhood in

    Spain-to remind us of the typical cultural level of the first colonizers. In the third panel Manet's characters-guests at the H6tel du Sud-represent non-Iberian Europe, which

    always perceived in America a possibility for acquiring wealth, or for exotic tourism. The H6tel du Sud represents a

    place of transit for our neighbors in the North.

    HERMAN BRAUN-VEGA, who lives in Paris, has exhibited internationally. A retrospective of his work and a series of paintings titled Espafia/Amdrica were exhibited in Madrid in October 1992.

    ART JOURNAL

    7

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    Article Contentsp. 7

    Issue Table of ContentsArt Journal, Vol. 51, No. 4, Latin American Art (Winter, 1992), pp. 1-111Front Matter [pp. 1-108]Artists' PagesRecent Latin American Art[Introduction] [p. 6]Herman Braun-Vega [p. 7]Guillermo Gmez-Pea [p. 8]Marina Gutirrez [p. 9]Patricia Israel [p. 10]Ricardo Rodrguez Brey [p. 11]Nelbia Romero [p. 12]Jonas dos Santos [p. 13]John Valadez [p. 14]Carlos Zerpa [p. 15]

    Editors' StatementThe Columbus Quincentenary and Latin American Art: A Critical Evaluation [pp. 16-20]

    Translating 1492: Mexico's and Spain's First National Celebrations of the "Discovery" of the Americas [pp. 21-29]Africa in the Art of Latin America [pp. 30-38]The Virgin of Guadalupe: Symbol of Conquest or Liberation? [pp. 39-47]"Civilizing" Rio de Janeiro: Four Centuries of Conquest through Architecture [pp. 48-56]Postmodern Disalignments and Realignments of the Center/Periphery [pp. 57-59]Beyond "The Fantastic": Framing Identity in U. S. Exhibitions of Latin American Art [pp. 60-68]Recapturing History: The (Un)Official Story in Contemporary Latin American Art [pp. 69-80]Exhibition ReviewsReview: Gertrude Ksebier and Helen Levitt [pp. 83-85+87+89]Review: Chiefly Feasts [pp. 91-93]

    Book ReviewsReview: 19th-Century American Painting [pp. 95+97]Review: Feminism and Impressionism [pp. 99+101+103]Review: The Museum [pp. 103-106]Review: Cubist Poetry [pp. 106-107]

    Books and Catalogues Received [pp. 109-111]Back Matter

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