Indigenista Painting

Julia Manuela Codesido y Estenós (1883-1979) Peruvian painter, one of the most prominent of the twentieth century. It belonged to the Group of indigenous painters formed around the Peruvian indigenous teacher Jose Sabogal, which stood out for his tenacious political commitment to the indigenous and the vindication of the landscape and native Peruvian men through the painting. Julia followed this ideological current, but from the 1940s developed its own style, a peruanista trend Naïf expressionism. Julia not only combined his artistic preoccupation with social and political issues relating to the problem of the indigenous, but next to the generation of women intellectuals who belonged, also struggled to feminist claims that emerged in the first decades of the 20th century. Julia was the daughter of the jurist and diplomat Bernardino Codesido Oyague and Matilde Estenós Carreño. He/She was born in Lima on August 5, 1883. About your date of birth always had some doubts, because Julia - due to personal reasons wanted to appear younger and therefore avoided to indicate a precise date. However, in doing his will, committed to notary your real age and, at the death of her, he/she found that Julia was born in 1883, and not in 1892 as indicated by your Passport. He spent his childhood accompanied his sister mayor Matilde and her younger brother Bernardino José. He/She studied at the Colegio San Pedro, located in the Centre of the city of Lima, and finished his studies in 1899. When he/she was twenty years old, due to the professional work of the father, the Codesido family traveled to Europe to live in Switzerland, France, England and Spain. At the beginning of the 20th century, Europe was in the heyday of the "Belle Epoque", years that were characterized by the refinements and Art Déco style decoration which followed the Art Nouveau or art nouveau. It was then that Julia began to be interested in art. Her father encouraged her and took her to meet different cultural centres. He/She frequented museums and galleries of the main European cities and broke down, frame by frame, the works of the great masters. His sister Matilde, less interested in the art, felt attracted to pompous and elegant life of the gatherings and social gatherings. His brother Bernardino José was devoted to studies of chemical engineering in Lausanne, small town in the French part of Switzerland. On 5 November 1908, the father of Julia was appointed consul of Peru in Liverpool, and on 20 January 1913 began to play the same position in Bordeaux. When the family returned in 1918 to Lima, at the age of 35 years, Julia enrolled as one of the first students in the workshop of the Peruvian painter Daniel Hernández at the newly founded national school of fine arts. On April 15, 1919 they began their classes in painting, sculpture and drawing. A year later, the Peruvian indigenous painter José Sabogal was appointed Assistant Professor of painting at the National School of fine arts and, in 1922, due to the impressive skill and motivation of the artist, Julia and other students requested the transfer of the workshop of the painter scholastic Hernández indigenist Sabogal workshop. The conversion of Julia the indianism had its beginnings in these years, when he/she realized the postulate of Sabogal express the demand of man and native Peruvian landscape through pictorial language. Julia once said: "the Peruvian Indian is for me a human revelation of strength, long-suffering, patience and faith". Although Julia left in 1924 as a member of the first class of the school, followed there taking advanced courses and attending their teacher Sabogal. It was during those years that he/she approached the feminist demands advocated by María Jesús Alvarado Rivera and the first feminist organization of Peru "Feminine evolution", founded in February 1914 by María Jesus. Julia supported the campaign for the reform of the Peruvian Civil Code of 1851 - current-, taken in 1922 by "Feminine evolution", along with another famous painter Carmen Saco. Feminine evolution" feminists criticized the articles of the Civil Code that married women undergoing the power of their husbands. Through petitions submitted to the Committee on the reform of the Civil Code claimed the rights of married women and tried to take influence on the decisions of the Commission. On request on November 18, 1922 the signing of Julia.Cuando is one of the signatures of other feminists also the "Council national of women of el Peru" was created in Lima on March 3, 1923, Julia was named Undersecretary, forming part of the Board of Directors, in which participated among other María Wiesse, wife of the painter Sabogal. Both ideas indigenist and feminist ideas were topics of interest in the Group of intellectuals, workers and indigenous people in the 1920s around the Marxist Jose Carlos Mariatequi. Mariátegui provided all the ideas of revolutionary and reivindicatoria nature a forum for expression through the monthly magazine "Amauta", founded in 1926. The art of Julia was commented in January 1928, number 11 of this magazine, through an article that also included photographs of his four oil paintings:"Upholstery India","Clay Quechua", La Quena" e "Aimara Indian". In May 1929, at number 23 of "Amauta", other three photos of his oil paintings were published: "Blanket Limeña", a different version of "La Quena" and "El Arriero". In December 1929, the number 27, "Amauta", Peruvian painter and sculptor Carmen Saco commented very positively the first solo exhibition of Julia. The exhibition took place in the Hall of the National Academy of music Alcedo in Lima, where Julia exhibited both works ascribed to the current indigenous movement that advocated Sabogal, as also some "nudes" and other academic compositions which reflected the influence of the scholastic era under the tutelage of Hernández. The father of Julia died in 1930. In the last years of his life, Bernardino Codesido had begun to devote himself to art, since by a series of ailments he/she was forced to stay in bed, using paint as a distraction from their ailments. Using as a basis for its work the reproductions of paintings by some teachers, Bernardino began painting on cardboard plates. Very rarely he/she inspired through his own imagination. Never artistic trials of his father please Julia. He/She began to hide their pictures because not found you worthy to be displayed. When Julia died, many painted by his father cartons were found. Five of them were exposed for the first time in the art gallery Moll in Lima in May 1980. In 1931, the year of the death of his mother, Julia was appointed Professor of drawing and painting from the National School of fine arts. The same year he/she exhibited his work in the room main of the University national most of San Marcos in Lima. Four years later he/she traveled to Mexico, where he/she studied art emerged as a result of the revolution. It is amistó with the so-called "painters rebels", the famous muralists Jose Clemente Orozco, Diego Rivera, and David Alfaro Sigueiros. They were much interested in the work of Julia and praised it in better words. In April 1935 opened his solo exhibition in the Gallery's exhibition of the Palacio de Bellas Artes of Mexico. Siqueiros presented the catalogue. In 1936 he/she held an exhibition at the Delphic Studios Gallery in New York, whose owner was a friend of Orozco. In the following years individual exhibitions in San Francisco, followed in Santa Barbara, in Lima, Paris, Buenos Aires, Mexico, Trujillo and Barcelona. In the 1940s, indigenism became quaint, losing the clamming intentions of Sabogal, its initiator. Julia on the other hand, never walked away from the ideological principles of the indigenous people. Despite staying in the pictorial not never fell into the vernacular frivolity, rather it applied a universal language. It was from this moment that Julia began to develop its own style within sabogalista indianism, called peruanista strong tendency Naïf expressionism. On July 27, 1943 he/she resigned from his position as Professor at the National School of fine arts. It was an act of solidarity towards Sabogal, as this was subrogated in his position as director and therefore also withdrew from the faculty. In these years, Julia toured in frequent trips inside the country to inspire in its landscapes and villages, serving you from source to create his drawings, woodcuts, watercolors, tempera and oil paintings. Until the Decade of the forties, Julia lived in the mansion of the family in the center of Lima. Behind the porch of the House was a cozy inner courtyard with green areas full of Geraniums and tropical plants. In the middle there was a water fountain with Seville tiles. Sabogal had painted a mural on the wall of the backyard. The edge of the fountain was the favorite place of Julia to sit, talk and remember the years he/she had spent in the school of fine arts. At the beginning of the Decade of the forties, the Mayor of Lima ordered the renovation and enlargement of the Cuzco shred in the Centre of Lima, which meant the expropriation and demolition of the colonial House where lived Julia. Julia then had built a home in a rustic area of Lima District Pueblo Libre. He/She directed the construction works. With the help of Sabogal had designed its future home, always taking into account its special functionality of House and workshop. Sabogal he/she died in 1956, when the House was about to be concluded. One of the peculiarities of the House of one floor and surrounded by wild gardens, was the excellent use of light. In this House, the favorite place of Julia was a rustic bench, which sat to rest and reflect with your dog. The largest and best illuminated House part was dedicated to the paint shop, just composed a large easel and a rocking chair. For the realization of their artistic creations, Julia needed to find inner peace, found more easily in the outskirts of the city. Therefore, in the years fifty built in a residential area on the outskirts of Lima, Chosica and Chaclacayo, a quaint one-room house. There he/she could contemplate the countryside and inspiration for the composition of his following paintings. Also belonged a simple House in a single environment in the seaside resort of Punta Negra, where is soothed with the view to the sea. The two houses were sold in the 1970s, when Julia was beginning to get less than their home in Pueblo Libre. Julia maintained throughout his life a great friendship with the painter Teresa Carvallo, who met her in 1919 to enter to the National School of fine arts, and with the Bolivian sculptor Marina Núñez del Prado, resident in the Peru. These friendships helped him to spend the last years of his life, when he/she gradually increased his loneliness, since his sister died in 1945 and his brother in 1950. The only family that survived her was her niece Cristina, only daughter of his brother Bernardino José and last bearer of the surname in the Peru Codesido. In 1976, the culture Prize in the area of art was awarded to Julia. Three years later, Julia died at his home as a result of a heart attack on 8 May 1979. His paintings and woodcuts are both preserved in the museums of modern art in New York and San Francisco and at the Jeu de Paume in Paris, as well as in public and private collections in different parts of the world. Bibliography MARIÁTEGUI, José Carlos: Amauta, avant-garde monthly magazine. Lima, 1926 and 1930.CLERICI, Annina: Die erste Etappe der Frauenbewegung peruanischen. Ein Überblick vom ersten feministischen Grundsatzprogramm im Jahre 1911 bis zur Gewahrung des Frauenwahlrechts im Jahre 1955. Thesis. Zurich, 1996.MILLA BATRES, Carlos: (Ed.). Historical and Biographical Dictionary of the Peru. 15th - 20th. Tomo II. Lima 1986.MOLL, Eduardo: Julia Codesido. Lima, 1990. TAURO, Alberto: (ed.). Illustrated encyclopedia of the Peru. Synthesis of comprehensive knowledge of the Peru, from its origins to the present day. Tomo II. Lima, 1987 FROM ENCYCLOPEDIA.COM: Codesido, Julia (1883–1979) Julia Codesido was a Peruvian artist. Codesido, known as one of the indigenistas sabogalinos (close followers of painter José Sabogal) was born on 5 August 1883, in Lima. As a young girl, she and her family traveled to Europe with her diplomat father. Over the next eighteen years, she was introduced to the great museums and master works of Europe. In 1918 she returned to Peru, and in 1919 she enrolled in the Escuela Nacional de Bellas Artes del Perú, where she studied with Daniel Hernández and later José Sabogal. In 1924 she had her first individual exhibition in the Palacio de Bellas Artes. Like other indigenistas, she aimed at creating a Peruvian school of painting based on the exploration of native themes and the depiction of Andean local scenes and customs. She studied at the National School of Fine Arts, in Lima, where she later taught. In 1935, she visited Mexico to study the muralist movement. After this visit, the influence of Siqueiros became evident in her work. Codesido abstracted some pictorial elements in her paintings—trees, architecture—although she always stayed within the boundaries of realism. In 1936, Codesido participated in the First Congress of American Artists, held in New York City. She exhibited in Mexico City and New York (1935 and 1936). When in 1943 Sabogal was relieved of his position as director of the National School of Fine Arts over artistic differences, Codesido resigned in solidarity with him. Subsequently, she dedicated herself to forming, with other members of the indigenista movement, a collection of popular art and artisanal work for the National Museum of Peruvian Culture. In 1946 she was named a member of the Instituto de Arte Peruano. She died on 8 May 1979.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:33 W x 46 H x 1.5 D in

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