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Eladio Vélez
"The editorial fund of Medellín's Univ. EAFIT has made possible the publication of the sketches of Eladio Vélez contained in 10 'libretas' or booklets, executed by the artist during his four-year European journey. Booklets Nos. 5, 6, and 7 are the least satisfactory, but the others demonstrate the artist's capacity for capturing in drawing the essence and visual structure of the subjects. No. 10 is exemplary. Artist Jorge Cárdenas, Vélez's student and current owner of the booklets, gives an account of his teacher's experiences in Europe. The book is illustrated and contains a short biographical chronology and bibliography"--Handbook of Latin American Studies, v. 58.
Eladio Vélez V.
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Eladio Vélez
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Humanities
Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon became the editor in 2000. The subject categories for Volume 58 are as follows: Electronic Resources for the Humanities Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Philosophy: Latin American Thought Music
Transatlantic Encounters
Paris was the artistic capital of the world in the 1920s and '30s, providing a home and community for the French and international avant-garde. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquin Torres-Garcia). Yet their participation in the Paris art scene has remained largely overlooked until now. This book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists. Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity.
Latin American and Caribbean Artists of the Modern Era
A large general bibliography is included."--BOOK JACKET.
