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Fashion Analysis in Latinx/ Latin American Art 1828-1995

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Fashion Analysis in Latinx/ Latin American Art 1828-1995

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In this timeline I have included ten art works by six different artists: José Gil de Castro,  Francisco Oller, Diego Rivera, Frida Kahlo, Fernando Botero, and David Botello. They range from many different Latinx cultures: Afro- Puerto Rican, Afro- Peruvian, Columbian and Mexican. These paintings are not famous because of the fashion, they each hold small slices of each cultures' history but it is interesting to note the different styles choses based on their occupation, time period, or heritage.  Starting in the year 1828 in Peru with Castro and ending in 1995 with Botero in Columbia we are taken on a journey through the different styles of Latin America.

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José Gil de Castro, José Olaya,  1828, 204 x 137 cm, . Oil on Canvas

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José Gil de Castro, José Olaya,  1828, 204 x 137 cm, . Oil on Canvas

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José Gil de Castro was an Afro-Peruvian portrait painter that was made images that represented Latin American independence.  This is a painting of José Olaya who was a Peruvian hero in the Peruvian war of independence. He was a secret emissary so his role was very dangerous and in the end he was tortured to death but he took his secrets to the grave and stayed extremely loyal to his people. His outfit says just that, his level of importance is clear by the cleanliness of the whites of his clothes, as well as his pointed shoes. His hat his held by his side, which reads he has surrendered his life for his country.

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Francisco Oller, La escuela del maestro Rafael Cordero (The School of Teacher Rafael Cordero), 1890-92

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Francisco Oller, La escuela del maestro Rafael Cordero (The School of Teacher Rafael Cordero), 1890-92

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This painting shows a school room in Puerto Rico, the teacher is Rafael Cordero who was Afro-Puerto Rican and taught black children and girls how to read since there were no public schools. The Cordero family taught them important skills they would not get elsewhere, saving many lives. The head wrap we see Cordero wearing was worn by low class people so the importance of this painting to Latinx fashion is this head piece.

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Diego Rivera, Retrato de Ignacio Sanchez, 1927, 39 cm x 79 cm, Oil on Canvas

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Diego Rivera, Retrato de Ignacio Sanchez, 1927, 39 cm x 79 cm, Oil on Canvas

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This painting is simply of a little boy standing with his hands intertwined. His overalls and big hat that shades his face tells us he most likely works in the field with is parents, this was common in Mexico which is where Rivera is from. His stance is indicating he is mature for his age which can say a lot about the children who worked in the fields, they are forced to grow up faster because of the intense labor and the struggle to survive.

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Diego Rivera, The Flower Carrier, 1935, 121.92 cm x 121.29 cm, Masonite, Oil Paint, Tempera

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Diego Rivera, The Flower Carrier, 1935, 121.92 cm x 121.29 cm, Masonite, Oil Paint, Tempera

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In this painting there is a man struggling to carry a flower basket on his back with a woman behind assisting him. We can tell by his clothes that he is poor, his hat tells us he spends long laborious hours in the sun. This is important to Lantinx culture because the strenuous action of carrying this basket is representing the burden the untrained worker has to face in a capitalist society.

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Frida Kahlo, My Grandparents, My Parents, and I (Family Tree), 1936, 12 1/8 x 13 5/8", Oil and tempera on zinc

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Frida Kahlo, My Grandparents, My Parents, and I (Family Tree), 1936, 12 1/8 x 13 5/8", Oil and tempera on zinc

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This is another painting by Frida Kahlo that we can use to compare the fashion of Mexican families and German Families. On the left we see her Mexican grandparents, her grandfather is wearing a gray suit with a red tie and her grandmother a dress that climbs all the way up her neck with small ruffles on the top. This high neck is also seen on her mother who is wearing a white dress with bigger ruffles on the neck and two bows on the front with puffs on the shoulders. On the right we see her German grandparents, the grandmother with a lower neck line that has a pendant in the middle and her grandfather that wears a smaller bowtie. Her father is wearing a similar suit and tie. This just shows how important fashion is to every culture, it is a direct identifier to someones heritage and even through decades Mexican style stays very traditional.

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Frida Kahlo, The Two Fridas, 1939,  173.5 x 173 cm, Oil on Canvas

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Frida Kahlo, The Two Fridas, 1939,  173.5 x 173 cm, Oil on Canvas

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This painting is one of Kahlo's most famous artworks. It shows her sitting next to herself, one wearing a Tehuana costume with a broken heart and the other wearing a modern dress and a full heart. On her white dress the stitching on her shoulders and chest going up her neck is very traditional to her Mexican heritage. As well as the small red and yellow flowers sprinkled across the bottom of her dress.

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Diego Rivera, Tenochtitlan Marketplace, 1945,  Oil on canvas

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Diego Rivera, Tenochtitlan Marketplace, 1945,  Oil on canvas

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This historical image is a presentation of the marketplace that was founded by the Aztecs at the National Palace of Mexico. At this time slavery was at its peak and here we see what they would have worn. The toil cloth around their waste and the white dresses on the women.

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Fernando Botero, Dancing In Columbia, 1980, 74 × 91 in.,Oil on Canvas

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Fernando Botero, Dancing In Columbia, 1980, 74 × 91 in.,Oil on Canvas

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This painting depicts a lively scene at a cafe with seven musicians, a juke box, and two dancers. Botero is a Columbian artist who focuses most of his artwork on his childhood growing up in Columbia. This specific painting has historical significance to Columbian fashion during this time in 1980. We see the  men are wearing suits with high waisted pants, these black suits are very common in the dancing scene. The women are wearing puffy dresses that regularly had layers of white and red ruffles, here we see that color red in the dancers dress and the fluffiness at the bottom of the dress and on the sleeves.

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David Botello, Wedding Photos - Hollenbeck Park, 1990, 471 in x 35 in., Oil on Canvas

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David Botello, Wedding Photos - Hollenbeck Park, 1990, 471 in x 35 in., Oil on Canvas

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This painting is addressing the frustration of the "slums" during the mass construction of the highways in Los Angeles. This was a form of racial segregation because the population of East LA, where these highways were placed, had no use for them because they were not allowed proper work that demanded the use of the highways. It is showing a Mexican-American family in traditional wedding attire against a beautiful landscape with willow trees and running water but the new freeway's dooming presence is in the foreground. This piece gives a great example of Chicano/x wedding attire, the layered ruffled white dresses accompanied by the men in white suits.

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Fernando Botero, The Street, 1995, 150 x 111.8 cm, Oil on Canvas

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Fernando Botero, The Street, 1995, 150 x 111.8 cm, Oil on Canvas

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Another painting by Fernando Botero shows people walking through the narrow streets of his hometown, Medellín, Columbia. We see people of all types in this one, business men, a woman and her child, a priest, and a neighbor looking out their window. The priest is what stands out to me, in their bright magenta catholic clergy robe holding an umbrella. The man in the front tipping his hat has those high waisted pants like in Botero's Dancing in Colombia. This painting shows the vibrant colors that make up Colombian fashion, as well as representing the busy cobbled streets of the cities.