I say famed, but actually, I had never heard of Guayasamin before I stepped foot into Ecuador. In fact, when we signed up to 'The Guayasamin Spanish School' in Quito named after the guy, I was still clueless. I remember asking Murry in a whisper if he knew who this Guayasamin geezer was, in case we were meant to be clued up. He shrugged his shoulders, wandered if it was the name of a river, and we resolved to resort to Google later.
We visited The Guayasamin Museum ('Capilla del Hombre') and house in Quito a week later, and I was very glad of the discovery. So what better now than to share it here with you...
A micro biography
Oswaldo Guayasamin was born in Quito (capital of Ecuador) on 6th July 1919. He was the first of ten children born to his Quechua Indian father and mestiza (mixed race) mother. The family lived in poverty.
In 1932, at the age of 12, Guayasamin commenced his studies in painting and sculpture at The School of Fine Arts in Quito. Not long after starting Art School, a close friend was killed in the 4 day civil war in Ecuador. This loss at an early age in such a cruel way was to stay with Guayasamin and influence much of his later works.
In 1942 at the age of 23, Guayasamin exhibited his work for the first time. Nelson Rockefeller, an American who chanced by the exhibition was impressed with the work and arranged a grant for him to exhibit work for sixth months in the U.S.
Following his stint in the U.S., Guayasamin travelled to Mexico, where he became assistant to José Clemente Orozco (a Mexican muralist). The following year Guayasamin travelled around much of Latin America. His travel experiences and exposure to the poverty and oppression of indigenous societies all over the continent inspired his art works as well as his view of life and people.
Self-portrait, 1963 (oil on canvas)
Image credit: Art of Guayasamin
In 1942 at the age of 23, Guayasamin exhibited his work for the first time. Nelson Rockefeller, an American who chanced by the exhibition was impressed with the work and arranged a grant for him to exhibit work for sixth months in the U.S.
Following his stint in the U.S., Guayasamin travelled to Mexico, where he became assistant to José Clemente Orozco (a Mexican muralist). The following year Guayasamin travelled around much of Latin America. His travel experiences and exposure to the poverty and oppression of indigenous societies all over the continent inspired his art works as well as his view of life and people.
He had many friends who were well known in political and artistic spheres of Latin American culture, including Fidel Castro, Gabriel García Márquez and Pablo Neruda.
Guayasamin died on 10th March 1999 at the age of 79 in Baltimore, Maryland.
During his lifetime he won many prestigious art awards and held exhibitions in the U.S. and Europe as well as Latin America.
During his lifetime he won many prestigious art awards and held exhibitions in the U.S. and Europe as well as Latin America.
What did Guayasamin create?
Guayasamin is pinned as an expressionist painter, sculptor and designer. He is referred to by many as 'the Latin American Picasso'. I can definitely see where this distinction arises. When I walked into the Guayasamin Museum in Quito the first thing I uttered to Murry was "wow, it's a bit like Picasso".
However, Guayasamin deserves entirely his own credit. The style is definitively his own, with his own recurring trademarks, such as his beautiful and expressive way of painting hands.
The paintings housed in the 'Capilla del Hombre' in Quito are huge in size and cover large high walls. There are giant works of sculpture too.The sheer scale creates a moving impact for the viewer. Walking around the gallery I felt like a quiet tiny spectator, dwarfed by these huge silent paintings that seemed somehow to shed screams that bounced and echoed off all of the walls and filled the space, without making a sound. Guayasamin himself wrote:
"I have painted as if I were screaming in desperation, and my screams have joined the screams that express the humiliation of so many, and the deep anguish for the times we have had to live in."
The gallery was designed by Guayasamin, unfortunately he died whilst it was being built and never saw it finished. It is entitled 'Capilla del Hombre' ('Chapel of Man'), as it is designed in the style of a chapel. Guayasamin wandered why men are so ready to build beautiful structures and offering for Gods and religions supposedly higher than themselves, but do not build such sacred structures to honor themselves. This then, was his offering to man and to the unity of Latin America. A domed and painted temple-like roof in the centre of the upper hall creates the 'chapel', with a flame burning underneath on the ground floor.
Some of the paintings on the first floor as you enter the museum.
Image credit: tripadvisor
However, Guayasamin deserves entirely his own credit. The style is definitively his own, with his own recurring trademarks, such as his beautiful and expressive way of painting hands.
Las manos de la protesta (The hands of protest)
Image credit: The Guayasamin Foundation
"I have painted as if I were screaming in desperation, and my screams have joined the screams that express the humiliation of so many, and the deep anguish for the times we have had to live in."
The gallery was designed by Guayasamin, unfortunately he died whilst it was being built and never saw it finished. It is entitled 'Capilla del Hombre' ('Chapel of Man'), as it is designed in the style of a chapel. Guayasamin wandered why men are so ready to build beautiful structures and offering for Gods and religions supposedly higher than themselves, but do not build such sacred structures to honor themselves. This then, was his offering to man and to the unity of Latin America. A domed and painted temple-like roof in the centre of the upper hall creates the 'chapel', with a flame burning underneath on the ground floor.
The Chapel of Man dome ceiling
The above inscription is printed on a ground floor wall, opposite the chapel flame:
"Keep a light burning because I will always return"
Image credit: blog
Another inscription in the same print as above is figured on the opposite wall. In translation it reads
"He cried because he did not have shoes, until he saw a boy who did not have any feet."
Guayasamin is considered an important figure in Latin America not only for his unique style, but also for his role in recording the politics, history and struggle of the indigenous cultures of the continent. Beyond that, he is also important on a universal level for his interest and compassion in mankind and human nature as a whole.
Guayasamin held an unforgiving dedication to express human pain and suffering, torture, loss and war. Themes depicted extend beyond Latin America and reach out to the world and all of its pockets of suffering. Many of the works may seem depressing and morbid at first glance; twisted faces with eyes widened in horror and gaping screams feature a lot. What I read into these mangled figures begging for viewer attention, was Guayasamin's refusal to turn a blind eye. His attempt to pay homage to human suffering shows both his underlying compassion for mankind, and also his frustration at the pain we inflict upon one another. He sees all humans as united, and yet distressingly fractured by the boundaries we inflict upon and between ourselves.
Some of the recurring motifs and themes evident in his work are indigenous suffering at the hands of imperialist colonisers, war (civil, world and genocide), torture, relationships and bonds, death, emphasis of hands as instruments of action and emotion.
The Bull and the Condor, 1957
Image credit: www.twoyangs.com
This painting depicts an Andean ritual and also holds deeper meaning. The bull often symbolised Spain (the coloniser) and the condor represented the Inca (indigenous) . Here, we see the Inca fighting back against colonial takeover in Latin America.
This painting depicts an Andean ritual and also holds deeper meaning. The bull often symbolised Spain (the coloniser) and the condor represented the Inca (indigenous) . Here, we see the Inca fighting back against colonial takeover in Latin America.
Guayasamin held an unforgiving dedication to express human pain and suffering, torture, loss and war. Themes depicted extend beyond Latin America and reach out to the world and all of its pockets of suffering. Many of the works may seem depressing and morbid at first glance; twisted faces with eyes widened in horror and gaping screams feature a lot. What I read into these mangled figures begging for viewer attention, was Guayasamin's refusal to turn a blind eye. His attempt to pay homage to human suffering shows both his underlying compassion for mankind, and also his frustration at the pain we inflict upon one another. He sees all humans as united, and yet distressingly fractured by the boundaries we inflict upon and between ourselves.
Some of the recurring motifs and themes evident in his work are indigenous suffering at the hands of imperialist colonisers, war (civil, world and genocide), torture, relationships and bonds, death, emphasis of hands as instruments of action and emotion.
Lágrimas de sangre (Tears of blood)
Image credit: Guayasamin Foundation
Madre y niño ('Mother and child'), 1989
Image credit: The Guayasamin Foundation
Guayasamin's paintings are not all doom and twisted gloom. In his later years, he entered what he called 'La Ternura' ('The Age of Tenderness'). From 1988 - 1999 his paintings embraced the bonds between humans and the love and compassion imminent in human nature. They inspired hope for things to come, rather than focusing on the destruction of the past.
El arbol de la vida ('The tree of life')
Image credit: Rem Sapojnikov
I have included a few paintings in this post, but Guayasamin's work has a much broader range and is worth looking into. If you ever happen to find yourself in Quito, Ecuador, I strongly recommend a visit to the 'Capilla del Hombre'. It is an experience and discovery that will stay with me for years to come, especially the hands! Guayasamin's beautiful, expressive hands were truly extraordinary.
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