# data[].attributes.body
Art is something that is very important and shapes many different societies as well as cultures. Latin America is a great example of this as we can see throughout its history how art has been a crucial part of shaping the majority of their cultures. Art is a form of expression of people. When we take a look at the history of Latin America we can see a connection between people being proud of the place of their origin while making new art to represent themselves. As the new countries were being formed they grew apart from Eurocentric art standards as well as ideas and started to develop their own ideas. A lot of this was possible to the people of the new countries being very proud of their cultures and wanting more representation for themselves. This would lead us to the idea of how art goes hand in hand with nationalism especially as a lot of newborn countries were trying to shape and show their culture through artwork. In this exhibition we can take a look at multiple different primary sources alongside photographs which show us how art and the idea of nationalism go hand in hand and lead to more people being united over the idea of a nation having its own identity in form of its different artstyle, which brings forward the culture of the country’s origin rather than colonists’ ideas. This can be seen happening throughout the 1800-1940s as countries like Brazil, Columbia, Mexico and Peru to name a few were trying to capture their own identity in form artstyle and started appreciating their indigenous culture more leading to moments like Avant-Garde which helped people connect more to their culture as well as bring the population of the country togather to ignite those nationalistic feelings in people

# data[].attributes.attachment_caption
Conclusão written by Luis Gonzaga Duque Estrada in 1888

# data[].attributes.body
Conclusão is a book written by Luis Gonzaga Duque Estrada in 1888 which offers a critical insight about  escola brazileira [Brazilian school] and how they are failing in comparison to Academia Imperial de Belas Artes. He points out how the majority of Brazilian schools fail to produce a great local brazilian artstyle and rather focus on the more generalized Eurocentric style of art. This hurts Brazil a lot as at the time it was a newly developing country and having a great national identity was crucial.Gonzaga argues in his article that there are three major artists eras in Brazil starting with Manifestation” (1695–1816),“Movement” (1831–70), and “Progress” (1870s to the late 1880s) but none of them are able to capture the true stylistic essence of Brazilian art. He mentions Brazilian art during that time was heavily based on cosmopolitanism which he also considers non-nationalistic.He further appreciates Academia Imperial de Belas Artes and their attempts to make Brazilian art be more local and unique to Brazil which helps the newly built nation stand out more internationally, and also helps the nation grow under a more nationalistic style of art. This document is crucial as it clearly demonstrates the importance of nationalistic identity in a nation as well as further shows how important it is for artists to create a art style which represents their own culture which was exactly what escola brazileira were failing to do and what Academia Imperial de Belas Artes were trying to do.

# data[].attributes.attachment_link.title
Conclusão · ICAA Documents Project en Español · ICAA/MFAH

# data[].attributes.attachment_link.description
Luis Gonzaga Duque Estrada, escritor y crítico brasileño, ofrece un sólido análisis en contra de la noción de una escola brazileira [escuela brasilera] como la que promueve la Academia Imperial de Belas Artes. El autor sostiene que, desde sus orígenes, la escola brazileira ha sido incapaz de reflejar la realidad y la composición heterogénea de la sociedad brasileña. Duque Estrada, en su libro A arte brasileira. Pintura e esculptura [El arte brasileño: Pintura y escultura], identifica tres periodos distintos en la historia de las artes de su país —“Manifestación” (1695–1816), “Movimiento” (1831–70) y “Progreso” (década de 1870 hasta finales de la de 1880)— y declara que todos carecen de las características locales, cualidades que considera indispensables para la fundación de una idea de arte nacional. Más bien, el autor admite a regañadientes que, desafortunadamente, el cosmopolitismo, que para él es sinónimo de “no-nacionalismo”, es el rasgo que mejor caracteriza el arte brasileño. Duque Estrada concluye, con un tono pesimista, que el no-nacionalismo amenaza con limitar el desarrollo cultural del joven país.

# data[].attributes.body
Cry of Ipiranga is a painting created by Pedro Américo, in 1888 which was a painting portraying  Dom Pedro I alongside his army declaring independence of Brazil from Portugal. This is an iconic painting in which Dom Pedro I can be seen surrounded by his army as they raise their swords up in indepence near the  Ipiranga River. This is crucial as it shows the nationalistic ideas of Brazil as well as how Pedro Américo who was a student of Academia Imperial de Belas Artes is able to represent Brazil with his own artistic style.

# data[].attributes.location_name
Marco Academia Imperial de Belas Artes - Travessa das Belas Artes - Centro, Rio de Janeiro - State of Rio de Janeiro, Brazil

# data[].attributes.attachment_caption
Marc Ferrez, Academia Imperial de Belas Artes,1891. 

# data[].attributes.headline
Marc Ferrez, Academia Imperial de Belas Artes,1891. 

# data[].attributes.subject
Marc Ferrez, Academia Imperial de Belas Artes,1891. 

# data[].attributes.body
This is the image of Academia Imperial de Belas Artes which was taken by Marc Ferrez and is well known for its impact on Brazilian art. It is known to have produced many great artists as well as push Brazilian art to have its own identity rather than relying on Eurocentric artistic standards.

# data[].attributes.location_name
Imperial Museum - Rua da Imperatriz - Centro, Petrópolis - State of Rio de Janeiro, Brazil

# data[].attributes.attachment_caption
Dom Pedro I, Henrique José de Silva, 1824. Oil on canvas

# data[].attributes.headline
Dom Pedro I, Henrique José de Silva, 1824. Oil on canvas

# data[].attributes.subject
Dom Pedro I, Henrique José de Silva, 1824. Oil on canvas

# data[].attributes.body
This is the painting of one of Dom Pedro I by Henrique José de Silva. This is really important as Dom Pedro I was the person who declared independence of Brazil from Portugal hence creating a new nation. Alongside this new nation would emerge art as well as institutions which would create a great sense of unity among Brazilian Folk.

# data[].attributes.attachment_caption
Written by unknown author in Mexico city during 1911

# data[].attributes.headline
La primera exposición de arte fotográfico en México(Primary Source)

# data[].attributes.subject
La primera exposición de arte fotográfico en México(Primary Source)

# data[].attributes.body
La primera exposición de arte fotográfico en México a which was a journal article published during 1911. It was an extremely important source as it allowed us to get insight of an exhibition

of art photography by the photojournalists of Mexico City. It shows multiple different images ranging from portraits to landscapes. But one of the most important images present in this article is that of the Mexican revolution. This was extremely important as the Mexican revolution was one of the most photographed events in history and this was all thanks to the Mexican photojournalists. This would mean multiple things as the nation goes through civil war it embraces its new identity through a relatively new art medium ‘photography’. Photography would play a crucial role alongside other mediums such as printmaking and painting in order to spread political propaganda as well as just news in general. This article perfectly is a solid proof of the role that art takes into not only shaping the country but also shaping its culture and how these photographs are able to ignite more nationalism among the citizens of Mexico.

# data[].attributes.attachment_link.title
La primera exposición de arte fotográfico en México · ICAA Documents Project en Español · ICAA/MFAH

# data[].attributes.attachment_link.description
La primera exposición de arte fotográfico en México

# data[].attributes.attachment_caption
Picture photograph of Emiliano Zapata by Agustín Victor Casasola, during 1911

# data[].attributes.headline
Emiliano Zapata by Agustín Victor Casasola, during 1911

# data[].attributes.subject
Emiliano Zapata by Agustín Victor Casasola, during 1911

# data[].attributes.body
Agustin Victor Cassola was a photographer who was born in Mexico city and has taken multiple photographs of the Mexican Revolution. Emiliano Zapata was one of the most important figures in the Mexican Revolution and a lot of people would associate him with Mexican culture. Even in this photograph we can see him wearing a sombrero, has a sword at his waist as well as carrying a firearm in his other hand. This shows how photographs like these helped people be more nationalistic due to their culture being displayed.

# data[].attributes.attachment_caption
The Valley of Mexico,José María Velasco, 1875

# data[].attributes.headline
The Valley of Mexico,José María Velasco, 1875

# data[].attributes.subject
The Valley of Mexico,José María Velasco, 1875

# data[].attributes.body
This is a painting created by Jose Maria Velasco which is a painting of the valley of Mexico as the title suggests. The reason why this painting is so impactful is because it leans into the idea of representing one's nation and culture through art which Jose was able to do. This painting contains multiple elements of culture such as the eagle, two mountains as well as the valley and the story of how Aztecs discovered Mexico city

# data[].attributes.body
This is the Zapatista landscape created by one of the most decorated artists in Mexico, Diego Riviera. Diego Riviera was really famous for creating a unique style of art that would represent Mexico internationally. In this artwork we can see Riviera using cubist techniques in order to recreate a landscape alongside some of the predominant cultural items such as the sombrero, the scarf, and the gun which was also often associated with Emiliano Zapata.

# data[].attributes.headline
Mexican pavilion in the US Centennial Exposition, Philadelphia (1876)

# data[].attributes.subject
Mexican pavilion in the US Centennial Exposition, Philadelphia (1876)

# data[].attributes.body
The US centennial Exposition was an exposition where multiple countries took part and shared their culture and art. One of the countries taking part in it was Mexico. This exposition is really crucial in order for Mexico to grow their own artistic style. This allowed Mexico to show their culture as well as bring a sense of nationalism to artists as they created artworks that would represent their nation at an international stage creating a sense of unity and nationalism through art.

# data[].attributes.attachment_caption
interview conducted by Chioino, José, in 1923

# data[].attributes.headline
De regreso de México, Sabogal cuenta...(Primary Source)

# data[].attributes.subject
De regreso de México, Sabogal cuenta...(Primary Source)

# data[].attributes.body
This is an interview of Jose Sabogal by  the Peruvian writer and art critic José Chioino. In this interview Sabogal is asked multiple questions about his most recent trip to Mexico. Sabogal further talks about how impressed he was by Mexican painters due to multiple reasons. One of the main reasons why Sabogal liked Mexican art was due to the fact that at that time Mexican artwork was one of the most serious American moments in art as it not only represents the country of Mexico but represents the Americas as a whole. He further takes a deep dive into the exhibitions from Bonampak and Teotihuacan and mentions how new Mexican painters have their own really unique and one of a kind identity to their art, which was not the case for many Latin American countries at the time. He also talks about the systems in place in Mexico for this to happen and how people are trained when they are young which allows the teachers to mold their skills in a certain way. This was great as it shows the inspiration which Sabogal is able to take from Mexico in developing a unique artstyle which represents their culture and tries to replicate that in Peru. This again shows how closely culture, nationalism and artworks bring the people together under one identity.

# data[].attributes.attachment_link.description
Referring to the visual art he saw in Mexico, José Sabogal says that contemporary Mexican painting is already "the most serious American movement in art. It represents something truly national, truly American."

# data[].attributes.attachment_caption
cover of amauta by Jose Sabogal in 1926. 

# data[].attributes.headline
cover of Amauta by Jose Sabogal in 1926. 

# data[].attributes.subject
cover of Amauta by Jose Sabogal in 1926. 

# data[].attributes.body
Amauta is a magazine whose artwork was created by Jose Sabogal. This magazine would be revolutionary in Peru as it helped spread awareness about indigenism. The magazines would talk about multiple different issues of society and was one of the earliest in the moment of Avant-garde, which was a moment. This relates to the theme as it invoked nationalism within the people of Peru through magazines which were a great art medium.

# data[].attributes.attachment_caption
Varayoc, Indian Mayor of Chincheros, José Sabogal, 1925

# data[].attributes.headline
Varayoc, Indian Mayor of Chincheros, José Sabogal, 1925

# data[].attributes.subject
Varayoc, Indian Mayor of Chincheros, José Sabogal, 1925

# data[].attributes.body
This is painting of a Indian mayor of Chincheros as depicted by Jose Sabogal. This painting contains an Indian man with his attire as he wears red as well as a special stick that he holds. In the background it appears to be his village of which he is a mayor of. The reason why this painting is important is because it sparked the Avant-Garde movement which not only brought more pride to indigenous culture but also allowed people to unite over the same goal of indigenous representation.

# data[].attributes.body
https://library.fiveable.me/key-terms/latin-america-1791-present/cry-of-ipiranga

https://icaa.mfah.org/s/es/item/1125269#?c=&m=&s=&cv=&xywh=-2027%2C-1%2C6753%2C3780

https://icaa.mfah.org/s/es/item/759177#?c=&m=&s=&cv=&xywh=-2001%2C-30%2C6551%2C3666

https://icaa.mfah.org/s/en/item/1139959#?c=&m=&s=&cv=&xywh=-2001%2C-79%2C6551%2C3666