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This study centers its analysis in the pictorial work of Eduardo Kingman as a mo-del to describe the approaches, tendencies and ideologies which characterized In-digenismo. This artistic current brought painters, writers and Ecuadorian intellec-tuals together during the 1930s. The article proposes that this current emerged asa reaction to the predominance of academicism in the circles and schools of art.The study reviews the exhibits, biennials and contests in which Kingman partici-pated. It analyzes the artistic and literary influences reflected in the work of theauthor, his relationships with the Guayaquil Group and his links with the Union ofWriters and Artists of Ecuador. Finally, it brings together the opinions and reactionsof writers, intellectuals and the general press to his pictorial production., Este estudio centra su análisis en la obra pictórica de Eduardo Kingman como un mo-delo para describir los enfoques, tendencias e ideología que caracterizaron al Indige-nismo. Esta corriente artística reunió a pintores, escritores e intelectuales ecuatorianosdurante la década de 1930. El artículo propone que esta corriente surgió como unareacción al academicismo predominante en los salones y escuelas de arte. El estudiohace una revisión de las exposiciones, bienales y concursos en los que Kingman par-ticipó. Analiza las influencias artísticas y literarias reflejadas en la obra de este autor,sus relaciones con el Grupo de Guayaquil y su vinculación al Sindicato de Escritoresy Artistas del Ecuador (SEA). Finalmente, recoge la opinión y reacción a su produc-ción pictórica por parte de escritores, intelectuales y prensa en general.

"It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of nonwestern cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him.

"It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of nonwestern cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him.

Between 1918 and 1939, many Latin American artists contributed to Paris' vibrant art scene. Visitors can learn more about these artists and view their artwork on this website, which was created by George Mason University art historian Michele Greet in collaboration with GMU graduate scholars and alumni. In the artists section, visitors will find information about approximately 200 artists, organized alphabetically. Many of these short biographical entries also include an image of the artist's work. Meanwhile, in the galleries section, visitors will find information about dozens of galleries that displayed works by Latin American artists, along with information about specific exhibitions. Individual artworks in this collection can also be explored theoretically in the subjects section. Subject tags allow visitors to see artists included in exhibitions that specifically highlighted the work of Latin American artists in Paris, allowing contemporary art lovers to examine pieces that were once displayed alongside one another. Those interested in learning more about the role of Latin American artists in Paris can check out Greet's bibliography for further reading suggestions.

Between 1918 and 1939, many Latin American artists contributed to Paris' vibrant art scene. Visitors can learn more about these artists and view their artwork on this website, which was created by George Mason University art historian Michele Greet in collaboration with GMU graduate scholars and alumni. In the artists section, visitors will find information about approximately 200 artists, organized alphabetically. Many of these short biographical entries also include an image of the artist's work. Meanwhile, in the galleries section, visitors will find information about dozens of galleries that displayed works by Latin American artists, along with information about specific exhibitions. Individual artworks in this collection can also be explored theoretically in the subjects section. Subject tags allow visitors to see artists included in exhibitions that specifically highlighted the work of Latin American artists in Paris, allowing contemporary art lovers to examine pieces that were once displayed alongside one another. Those interested in learning more about the role of Latin American artists in Paris can check out Greet's bibliography for further reading suggestions.