UECLAA- Ramiro Arango: A Discussion of European old masters influence upon the work of contemporary Columbian artists work.
When we look at Ramiro Arango’s works, we are overcome by a sense of familiarity. Our frames of reference are strongly roused by surreal imagery combined with what one would consider mastery in art history, the Old European Masters. In the late 1980s, Contemporary artists of Latin America created their own styles by using an eclectic mix of the old and new, the European and American, based upon fantasy which produced some of the most masterful surrealist works, at the same time creating a bridge between old European artists and artists working today in Latin America, resulting in a loyally primitive yet strongly authentic addition to all of the countries art history. I shall consider the work of many masters whom influenced this contemporary group of artists and why they adopted these strong cultural, referential aesthetics, but primarily shall be discussing the extent in which European works have been utilised in Latin American Surrealism; the work “Venus” by Arango which was donated to the UECLAA collection by the artist, shall be my main focus in which I discuss my ideas.
One could suggest that contemporary art or at least modernism was first inclined by the three great artists Rivera, Siqueiros and Jose Orozco and has since then evolved tremendously in both context and aesthetic. It has become even more relevant and internationally treasured as an art practice because of the artists willingness to experiment, investigate and utilise the art history the world has to offer, as well as incorporating their own historical background, one could call it a very well perceived gestural investigation within art. One could suggest that what Arango is presenting is the attitude towards all of art in Latin America. Not one style is dominant within all its regions, such as Mexico, South America and the Caribbean. Yes, indeed surrealism is seen to be in the eyes of Northern American and European audiences, the staple art movement in Latin America and the inherent birth place of surrealism, but we see in contemporary Latin American art, a dynamic, diverse and amalgamating array of international styles and genres. Like Arango, European influences have been incorporated into their works, which have been both contemporary and traditionally classic as a result of travel and research methods abroad. Although keeping in mind their own countries native history and creative techniques as well as other countries art historical offerings , Latin American art actually has one of the most unique forms of artistic expression, which still remains strongly regional. This notion of piecing together a mixture of art historical references is evident in Arango’s work, “Venus” 1992[1]. Arango is a Colombian artist who indeed has in the past worked abroad; he in fact completed his artistic training in Paris where he also lived. Venus has been a subject many European painters have attempted in their work, and also stylistically so in its composition. The reclining female is a compositional element used widely by the European masters to name the most prominent, Manet, Titian, Giorgione and Goya. The similarity bears no question when considering Titians original “Venus of Urbino” 1538[2], now in the Uffizi gallery in Florence. The reclining pose is almost institutional to European portraiture in art, so what Arango may be suggesting, is that in the same importance of the goddess, he is replacing or privileging indigenous artefacts (Poporos) in place of a female, showing utmost respect and patriotism to his country, who at the same time is relishing in the arts of another continent.
This brings us to the attention of the how the Poporos were utilised in indigenous cultures within Latin America and how it could be of significance in using them as art historical referenced metaphorical beings. Poporos were personal artefacts which were primarily a highly valued smoking tool which simultaneously denoted social power and an air of sexuality, rather similar to the European aesthetic sentiment to smoking. However, it is interesting in relation to the Goddess of Love “Venus” in Titians masterpiece, to consider the actual method of using a Poporos and its important metaphorical meaning in regards to procreation. The suggestive act of inserting the stick into the actual gourd into the mixture of leaves and cocoa is indeed assimilation to the act of procreation itself. The opening of the Poporos in Arango’s work is a fully accessible opening which one can recognise as being neck shaped which in being with the rest of the hour glass feminine contours, makes one look at the piece with an effeminate tone, creating the sensual mood of the piece. The piece was made using pastels upon canvas, this seems to work well in the sense that the colours seem almost organic and pleasantly not overtly surreal, which could be seen as primitive in relation to his countries indigenous way of life. We can see a surrealist reference towards the great French painter Rene Magritte when we look towards the drapery and the chequered background tiling. The check board flooring was quintessential to Magritte’s surrealist style, and even more so when he painted rooms full of objects which were like Arango’s work, opposed to naturalistic proportions and surreal incoherent content. The European influence upon Arango’s work is plentiful and is extremely loyal to Titians Venus of Urbino, in that each significant marker within the work is included, yet transformed into a Poporos. All living organisms, the servants, the dog, are all given the Columbian identity, except the plant on the windowsill which although smaller than Titians, is detailed exactly to that in Arango’s work. Once again artistically quoting European styles of the past and perhaps heightening the contrast between the biomorphic natures of the Poporos pieces in a manmade European environment.
There are two very strong cultural significations happening in the work. One could suggest that the most predominant element of the piece is the historical indigenous American references, although the setting of the piece and the way in which the composition echoes European practices, which creates a kind of tension between the two, which is primarily what one could describe surrealism as based upon. The merging between the two creates an ambiguous hybrid of contextual information as well as artistic representation. However, one could argue that the Artist is of Latin American origin, he has chosen to display the Poporos amongst the European settings, somehow placing emphasis on the Poporos and giving them a much greater status in the work. They are the main focus points in the middle ground, foreground, as well as the background, which we are directed to place our attention on. Moreover, the Poporos use is also imperative when discussing its historical usage and therefore its validity within the work. An explanation of this heightening of status can be discussed in relation to ancient practices within the Olmec, Mayan and Aztec cultures; and can even be utilised in some cultures still today. In ancient times of the Olmec indigenous cultures, the uses of hallucinogenic type drugs were used regularly within the spiritual aspects of their lives and beliefs. It was believed that in order for leaders and lords to enter the celestial realms of the Gods, a shape shift or physical amalgamation into an animal or hybrid creature was needed in order to be of the same spiritual power as the Gods. This process was made possible in the eyes the people by taking drugs which during meditation would transform them mentally and therefore physically, enabling them to reach a higher plane within the realms of the Gods to resurrect people from the past whom had entered the spirit world. The Poporos is a tool which served this purpose amongst others we have discussed. A mixture of coca leaves and lime were stored in the actual basin part of the Poporos, and with the stick was scooped out and inhaled to create a narcotic experience. We understand that spirituality was a major element of life within the ancient civilisations of Latin America, and still is today as part of their heritage and daily culture. For some civilisations as Poporos are given to boys males when they reach adulthood, as a marker of entering into a new stage of life, it is then also a very personal and unique object to each one man[3]. One could suggest that a Poporos is a type of portal or orb which enables the user to live out his cultural activities such as reaching meditative states when entering the different zones within the cyclic cosmos. We can therefore understand that in Arango’s work, he is appropriating the Poporos status with that of a succumbed European Goddess, the Poporos has achieved its goal in assisting with the surreal entering into the higher realms.
In order to appreciate the extent of European mastery has had upon contemporary Latin American artists methods, we shall now consider some more of Arango’s works which have had strong influences in relation to composition and historical context. Spanish Baroque 17th Century artist, Velazquez’s masterpiece “Las Meninas”, 1656[4], has been excessively utilised by Arango, again using the Poporos as substitutes for the people in painting. The painting is extremely important in European art and could be described as a legendary work of art in terms of its multiplicity of interpretation. As well as strong cultural significations of Latin America and Europe, Arango also integrates these with the use of religious biblical scenes and subjects; a theme widely used in the European masters works. Arango has used assimilated compositions in his work from the likes of the last supper and Zurbaran’s stunningly graceful, virgin of mercy, 1630-50; again throughout both pieces he privileges the objective Poporos in place of the highly subjective and finely detailed figures. Another element which Arango brings to these variations is experimentation. In the large body of work that Arango has created, we see duplicate works of one subject, altered in another, using varying techniques and with different methods and materials. Another Spanish master whose work is referenced in Arango’s work is the 17th century Baroque painter Juan Sanchez Cotan. It is interesting that Arango chose to use the still life painter’s technique to use as inspiration, as once he had inserted his Poporos into the similar black background setting, strung up by string like Cotan’s vegetables in Quince, Cabbage, Melon and Cucumber, 1602[5], unlike the Las Meninas, the end result was another still life altered to reflect his Mesoamerican culture. However we can also read from the painting that a religious element may be playing a part, as Cotan’s still life’s were incredibly austere and reflected the sparse living of monks living under religious beliefs in holy institutions. Moreover, we see a link that Arango makes between Cotan’s subject and his own, by paintings a piece of cloth being held up by string situated in front of a pure black background which creates a stark chiaroscuro effect, and on the pieces of white cloth are either pieces of fruit like Cotan’s, or Arango’s trademark Poporos. In regard to the Las Meninas series, we see elements of cubism coming through and maybe even an accent of Durer’s technique. The pieces certainly mimic Picassos collage style composition and orientation of line, shape and contour. It would be correct to suggest that Arango is mixing styles, methods and contexts in his work, with more than one artistic reference in his work; this makes his unique, eclectic style the more interesting and intriguing to interpret.
After considering Ramiro Arango’s work, both pictorially and contextually, we can see how greatly influenced his works are when considering his ancient, culture and beliefs. However, even more greatly influenced his works are by the European Masters. By creating links with both cultures, times and artistic practices, Arango manages to create an entirely fresh way of working, at the same time representing his roots within Latin America. The significations of the European aspects of the works are considerably strong which provide the works with great credibility and a sense of familiarity for the viewer, which entices the viewer to investigate his methods further. This is evident in the inclusions of works such as Velazquez’s Las Meninas which has been a subject exhausted by art historians since its creation in the 17th century. This proves that by using internationally recognised masterpieces, Arango is critiquing masterpieces and recreating them through appropriation and his own eclectic techniques, which alter their position in the art world as treasured institutions created by the legends of the art world. He is above all this, bringing history forward from both cultures, remaking these works relevant again by integrating their core compositions and attributes in new art being created today in our contemporary age.
Bibliography:
David Attenborough,The tribal eye, British Broadcasting Corporation, 1976, pp60.
Austin Harrington, Art and social theory: sociological arguments in aesthetics, Wiley-Blackwell, 2004, pp187.
Marilyn Stokstad, David Cateforis, Stephen Addiss, Art History, Volume 2, Penguin Group USA, 2001, pp790.
http://www.ueclaa.org/ueclaaOnline/ArtworkView.jsp?artworkID=16&from=simple&ii=true
http://www.virtualuffizi.com/uffizi1/cercals1.asp?Contatore=296
[1] http://www.ueclaa.org
[2] http://www.virtualuffizi.com/uffizi1/cercals1.asp?Contatore=296
[3] David Attenborough,The tribal eye, British Broadcasting Corporation, 1976, pp60.
[4] Austin Harrington, Art and social theory: sociological arguments in aesthetics, Wiley-Blackwell, 2004, pp187.
[5] Marilyn Stokstad, David Cateforis, Stephen Addiss, Art History, Volume 2, Penguin Group USA, 2001, pp790.
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