Urteaga, Mario Alvarado (1875–1957)

Author(s):  
Rosa Berland

The self-taught painter Mario Alvarado Urteaga’s oeuvre includes 197 known drawings and paintings. Urteaga’s works often have a contemplative and dignified format that the Museum of Modern Art curator Lincoln Kirstein called "the poetry of the commonplace." During the 1920s to 1930s, Urteaga had begun to move away from neo-Renaissance religious subject matter and concentrated on the gravitas depiction of the Peruvian indigenous people including scenes of daily rural and village life, as well as religious and funerary processions. The oil painting Burial of an Illustrious Man, 1936 (Entierro de veteran), now in the collection of the Museum of Modern Art from the artist’s classical period (1930–1939), depicts a burial in Cajamarca of a veteran of the Chilean-Peruvian War of 1879. It is one of five known paintings of funerary processions (Entierro en Cajamarca, 1923–1934; Entierro, 1945; Entierro, 1946; and El Entierro de un hermano, date unknown) made by Urteaga. In Burial of an Illustrious Man, the artist takes traditional subject matter (a funeral procession) and reinterprets it in a classically informed style that depicts the native people of Peru with a somber dignity and traces of a social realism. Urteaga’s dignified portrayal of the indigenous people of Peru influenced generations of national painters, and his work has come to symbolize a manifestation of indigenous pride.

1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

Al-Qalam ◽  
2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Hayyadin Ode

<p>This research aimed to figure out the santri’s preference toward studies and professions in which conduct study at pesantren. Common perceived and stated also at Government Ordinancenumber 55, 2007, that pesantren purposes was to reproduce Islamic scholar (ulama). However, through this study, it proved that not all santri wanted to be ulama, most of them wanted to be a scientist. This study was a case study, conducted in 2015 at Pesantren Alhikmah2 Brebes. Data collected using questionnaire, interview, and document. Those all derived from santris, Kyais, and teachers (asatidz). The research concluded as showed from questionnaire that santri’s  preferences toward study has gotten  changing to general subject matters instead of religious subject matters; and the santri’s professions and jobspreference has gotten changing to the jobs and professions that based on general subject matter, instead of choose to be ulama (Islamic scholar) most of santri wanted to be scientists, or researchers, or doctors as well as athlete.</p>


Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.


Author(s):  
George Pattison

This chapter sets out the rationale for adopting a phenomenological approach to the devout life literature. Distinguishing the present approach from versions of the phenomenology of religion dominant in mid-twentieth-century approaches to religion, an alternative model is found in Heidegger’s early lectures on Paul. These illustrate that alongside its striving to achieve a maximally pure intuition of its subject matter, phenomenology will also be necessarily interpretative and existential. Although phenomenology is limited to what shows itself and therefore cannot pass judgement on the existence of God, it can deal with God insofar as God appears within the activity and passivity of human existence. From Hegel onward, it has also shown itself open to seeing the self as twofold and thus more than a simple subjective agent, opening the way to an understanding of the self as essentially spiritual.


1956 ◽  
Vol 9 (2) ◽  
pp. 73-83 ◽  
Author(s):  
Affonso Eduardo Reidy

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.


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