Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>?
Between 1927 and 1930, Demetrio Peralta Miranda (Puno, 1910 – Lima, 1971), under the pen name “Diego Kunurana”, published a series of woodcuts in the Boletín Titikaka, the famed Puno-based avant-garde Indigenista journal. The woodcuts remain the first recorded example of Kunurana´s work. Meanwhile,...
Main Author: | |
---|---|
Format: | Article |
Language: | English |
Published: |
Università degli Studi di Cagliari
2018-01-01
|
Series: | América Crítica |
Online Access: | https://ojs.unica.it/index.php/cisap/article/view/3191 |
id |
doaj-8f86ab93b18b490daa0ecdb4e9e1d967 |
---|---|
record_format |
Article |
spelling |
doaj-8f86ab93b18b490daa0ecdb4e9e1d9672021-01-20T12:52:40ZengUniversità degli Studi di CagliariAmérica Crítica2532-67242018-01-011210.13125/américacrítica/31912286Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>?Christian Reynoso Torres0Pontificia Universidad Católica del Perú, Lima, Perù Between 1927 and 1930, Demetrio Peralta Miranda (Puno, 1910 – Lima, 1971), under the pen name “Diego Kunurana”, published a series of woodcuts in the Boletín Titikaka, the famed Puno-based avant-garde Indigenista journal. The woodcuts remain the first recorded example of Kunurana´s work. Meanwhile, the Boletín Titikaka, headed by Gamaliel Churata, leader of the Orkopata Group, proposed an ideological position which aimed to establishing a defined aesthetic for Native American art through articles and literatura essays. Thus, this article will address Kunurana´s woodcuts and attempt to establish a relationship between these and the graphical content of Boletín Titikaka, looking forward to analyze if the former could be defined as the aesthetic expression of the latter. https://ojs.unica.it/index.php/cisap/article/view/3191 |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Christian Reynoso Torres |
spellingShingle |
Christian Reynoso Torres Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? América Crítica |
author_facet |
Christian Reynoso Torres |
author_sort |
Christian Reynoso Torres |
title |
Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? |
title_short |
Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? |
title_full |
Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? |
title_fullStr |
Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? |
title_full_unstemmed |
Xilografías de Diego Kunurana. ¿Propuesta pictórica del <i> Boletín Titikaka</i>? |
title_sort |
xilografías de diego kunurana. ¿propuesta pictórica del <i> boletín titikaka</i>? |
publisher |
Università degli Studi di Cagliari |
series |
América Crítica |
issn |
2532-6724 |
publishDate |
2018-01-01 |
description |
Between 1927 and 1930, Demetrio Peralta Miranda (Puno, 1910 – Lima, 1971), under the pen name “Diego Kunurana”, published a series of woodcuts in the Boletín Titikaka, the famed Puno-based avant-garde Indigenista journal. The woodcuts remain the first recorded example of Kunurana´s work. Meanwhile, the Boletín Titikaka, headed by Gamaliel Churata, leader of the Orkopata Group, proposed an ideological position which aimed to establishing a defined aesthetic for Native American art through articles and literatura essays. Thus, this article will address Kunurana´s woodcuts and attempt to establish a relationship between these and the graphical content of Boletín Titikaka, looking forward to analyze if the former could be defined as the aesthetic expression of the latter.
|
url |
https://ojs.unica.it/index.php/cisap/article/view/3191 |
work_keys_str_mv |
AT christianreynosotorres xilografiasdediegokunuranapropuestapictoricadeliboletintitikakai |
_version_ |
1724330874372096000 |