Forging a popular art history

In 1931, Sabogal established the Instituto de Arte Peruano (IAP) in Lima and appointed Blas as head technical illustrator (dibujante técnico). The IAP served as the primary institutional vehicle through which artists traveled, researched, and visually documented Peru’s colonial and contemporary artistic patrimony.40 As noted in their mission statement, the IAP was dedicated to “artistic development through the diverse cultural manifestations of ancient Peru, seeking the continuation of the national artistic process.”41 Inherent in this statement is an interest in the recognition of past artistic traditions as a means of reinvigorating the artistic climate of the present. In 1946 the organization synthesized its three platforms, which had begun to materialize a decade prior: the photographic documentation of colonial architecture; the founding of a museum of artesanía (crafts) and popular art (which would become the Museo de la Cultura Peruana, founded that same year); and the production of booklets dedicated to different genres of popular art.42 A simultaneous interest in popular art and its colonial foundations were thus interwoven in the very infrastructure of the IAP. The scholarship that these artists produced could therefore take on a number of creative forms that went beyond the survey textbook or catalog format

Archaeology · Art · Art history · Colonialism · Documentation · Political science · Scholarship · Visual arts · Computer Science · Cultural and Social Dynamics · History · Latin American Cultural Politics · Latin American history and culture · Law · Architecture

• Il Riposo

  Open Access•Gauvin Alexander Bailey•Renaissance Quarterly•2009

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• Out of The Shadow of Vasari

  Barbara E Mundy, Aaron M Hyman•Colonial Latin American Review•2015

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• Toward Agency

  Open Access•Jorge Coronado•Latin American Perspectives•2009

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