BGuthrie Photos: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Eduardo Carrillo, Las Tropicanas

DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Eduardo Carrillo, Las Tropicanas:

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Description of Pictures: Testament of the Spirit: Paintings by Eduardo Carrillo
April 6-May 26, 2019
Eduardo Carrillo’s artwork has been described as mystical, realistic, surreal, and visionary. His imagery, whether grounded in the everyday world or infused with magical realism, reflects his relationship to his native California and to his Mexican heritage, as well as to his early religious upbringing and respect for European traditions in art. An inspirational leader who actively challenged racism and injustice, Carrillo significantly advanced the recognition and appreciation of Chicano art and culture in California. Testament of the Spirit: Paintings by Eduardo Carrillo was organized by the Crocker Art Museum, Sacramento, CA.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. KATCAR_190405_001.JPG: Testament of the Spirit: Paintings by Eduardo Carrillo
2. KATCAR_190405_004.JPG: Eduardo Carrillo's work has been described as mystical, realistic, surreal, and visionary. His imagery, whether grounded in the everyday world or infused with magical realism, reflects his relationship to his native California and to his Mexican heritage, as well as to his early religious upbringing and respect for European traditions in art. An inspirational leader who actively challenged racism and injustice, Carrillo created programs and platforms that promoted greater awareness of Latin American culture, aesthetics, and social concerns, significantly advancing the recognition and appreciation of Chicano art and culture in California. Testament of the Spirit: Paintings by Eduardo Carrillo highlights the creative efforts and social importance of Carrillo as artist, teacher, scholar, and social activist. It showcases work created for three distinct realms: public, private, and museums. The artist's collaborative mural Chicano History is politically and historically engaged. Smaller watercolors and paintings describe the artist's everyday life in still lifes, self-portraits, and images of people and places he held dear. Large-scale visionary paintings reveal his complex and creative mind. Testament of the Spirit: Paintings by Eduardo Carrillo was organized by the Crocker Art Museum, Sacramento, CA.
3. KATCAR_190405_012.JPG: Eduardo Carrillo 1937-1997 Born in Santa Monica, California, Carrillo grew up in Los Angeles. In 1960, he studied for a year at the Circulo de Bellas Artes in Madrid, where he also assisted with the restoration of a church altar and spent time studying the paintings of Hieronymus Bosch, Giorgio de Chirico, El Greco, Diego Vel�zquez and other European artists at the Museo del Prado. Carrillo earned a BFA (1962) and MFA (1964) from the University of California, Los Angeles. In 1966, the artist moved to his ancestral home in La Paz, Baja California, where he founded El Centro Regional de Arte to revive the area's local artistic traditions. Three years later he returned to the United States and joined El Movimiento, the Chicano civil-rights movement. After the violent events of the Chicano Moratorium anti-war protest of August 1970 in Los Angeles, he moved to Northern California to accept a teaching position at California State University, Sacramento. While in Sacramento, Carrillo was briefly part of the Royal Chicano Air Force artists' collective. In the early 1980s, working with Philip Brookman and Tom�s Ybarra Frausto, he organized and directed the multiyear, statewide initiative, Califas: Chicano Art and Culture in California. The groundbreaking conference included lectures, exhibitions, oral histories, videos, workshops, and performances. This landmark event continues to inform and influence the way Chicano art and culture are understood and presented.
4. KATCAR_190405_015.JPG: Eduardo Carrillo La Otra (detail) (1984)
5. KATCAR_190405_023.JPG: Eduardo Carrillo Busy Signal, 1970
6. KATCAR_190405_033.JPG: Eduardo Carrillo Smoke Gets In Your Eyes, early 1970s
7. KATCAR_190405_042.JPG: Eduardo Carrillo Couple in the Garden, 1985
8. KATCAR_190405_052.JPG: Eduardo Carrillo The Burial (The Deposition), 1983
9. KATCAR_190405_061.JPG: Eduardo Carrillo Study for the Burial (The Deposition), c. 1983
10. KATCAR_190405_071.JPG: Eduardo Carrillo Woman Holding Serpent, 1975
11. KATCAR_190405_077.JPG: Eduardo Carrillo Las Tropicanas, 1972-1973
12. KATCAR_190405_116.JPG: Eduardo Carrillo Self-Portrait, 1960
13. KATCAR_190405_122.JPG: Self-portraits Carrillo's self-portraits are among his most poignant and personal forms of expression, offering glimpses into his life as an artist, teacher, and family man as he labors, jests, and enjoys quiet reflection. They give the viewer a glimpse into the artist's psyche at various points in his life and, because he explored the subject throughout his career, provide evidence of the passage of time.
14. KATCAR_190405_132.JPG: Eduardo Carrillo Subterranean Garden, c. 1960s
15. KATCAR_190405_145.JPG: Eduardo Carrillo The Astronaut, 1963
16. KATCAR_190405_149.JPG: Eduardo Carrillo The Temptation of St. Anthony (copy of Heironymus Bosch Painting), ca 1960s
17. KATCAR_190405_154.JPG: Eduardo Carrillo Testament of the Holy Spirit, 1971
18. KATCAR_190405_165.JPG: Eduardo Carrillo Reaching for Coatlicue, 1988
19. KATCAR_190405_171.JPG: Eduardo Carrillo Revolution, 1991
20. KATCAR_190405_177.JPG: Eduardo Carrillo La Cueva, 1993
21. KATCAR_190405_183.JPG: Eduardo Carrillo Down the Lane (Surfing at the Mouth of the Jordan), 1991-1992
22. KATCAR_190405_188.JPG: Eduardo Carrillo Tio Beto on the Wall, 1987-88
23. KATCAR_190405_192.JPG: Eduardo Carrillo Ed in the Garden, early 1990s
24. KATCAR_190405_197.JPG: Eduardo Carrillo Self-Portrait, 1958
25. KATCAR_190405_206.JPG: Eduardo Carrillo The Two of Hearts, 1983
26. KATCAR_190405_225.JPG: Eduardo Carrillo Self-Portrait with Pipe, 1991
27. KATCAR_190405_230.JPG: Eduardo Carrillo Self-Portrait Crouching, 1992
28. KATCAR_190405_234.JPG: Eduardo Carrillo The Last Supper, 1994
29. KATCAR_190405_252.JPG: Eduardo Carrillo The Penitents, 1984
30. KATCAR_190405_257.JPG: Eduardo Carrillo Beto Expressing the Workers' Position, 1994
31. KATCAR_190405_261.JPG: Eduardo Carrillo Alison in Profile, 1993
32. KATCAR_190405_266.JPG: Eduardo Carrillo Alison Reclining from the Back, 1992
33. KATCAR_190405_275.JPG: Eduardo Carrillo Afghan Bowl and Chinese Pot, 1995
34. KATCAR_190405_279.JPG: Eduardo Carrillo Doyle, 1992
35. KATCAR_190405_283.JPG: Eduardo Carrillo Jacobo Seated, 1990
36. KATCAR_190405_290.JPG: Eduardo Carrillo Untitled (Still Life with Santo Nino Candle), 1989
37. KATCAR_190405_293.JPG: Eduardo Carrillo Three Pears, 1990
38. KATCAR_190405_300.JPG: Eduardo Carrillo Adagio Doloroso, 1992
39. KATCAR_190405_307.JPG: Eduardo Carrillo Ed's Garden, 1990
40. KATCAR_190405_311.JPG: Eduardo Carrillo Vegetable Man, 1997
41. KATCAR_190405_319.JPG: Eduardo Carrillo Two Brothers Fighting, 1985
42. KATCAR_190405_342.JPG: Eduardo Carrillo Cabin in the Sky
43. KATCAR_190405_348.JPG: Eduardo Carrillo Tio Beto and Tio Nacho at the Precipice, ca 1970s
44. KATCAR_190405_360.JPG: Eduardo Carrillo Self-Portrait with Carved Frame, 1993
45. KATCAR_190405_401.JPG: Still-Life Paintings Still-life paintings capture the details of inanimate objects through the effects of composition, line, color, light, and shadow. Following a long art-historical tradition, Carrillo's still-life paintings focus on his personal possessions. He would awaken early, often before first light, and, while the rest of his family slept, sit at the kitchen table to draw and paint objects in front of him. Often executed in watercolor, these intimate paintings carry a feeling of solitude and quiet. Because many of the objects he chose to render were part of his domestic life, which he valued highly, they are imbued with personal meaning and individual symbolism.
46. KATCAR_190405_402.JPG: Eduardo Carrillo Paint Jars with Crystal Eggs, 1988
47. KATCAR_190405_409.JPG: Eduardo Carrillo Ball Perfect Mason, 1990
48. KATCAR_190405_416.JPG: Eduardo Carrillo Still Life Cup and Blue Glass, 1995
49. KATCAR_190405_421.JPG: Eduardo Carrillo Self-Portrait with Square Glasses, 1988
50. KATCAR_190405_425.JPG: Eduardo Carrillo Self-Portrait, 1989
51. KATCAR_190405_431.JPG: Eduardo Carrillo Alison Knitting, early 1990s
52. KATCAR_190405_435.JPG: Eduardo Carrillo Night Drawing with Lamp, late 1980s
53. KATCAR_190405_439.JPG: Eduardo Carrillo Backyard, 1970
54. KATCAR_190405_445.JPG: Eduardo Carrillo Untitled (Photograph of the Artist's Mother), 1990
55. KATCAR_190421_011.JPG: Eduardo Carrillo, Sergio Hern�ndez, Ramses Noriega, & Saul Solache CHICANO HISTORY (detail) | 1970 Oil on panel Courtesy of Chicano Studies Research Center, University of California, Los Angeles Eduardo Carrillo advanced to the forefront of the Chicano art movement when he collaborated on the mural Chicano History (1970) for the Chicano Studies Research Center at University of California, Los Angeles. This mural, composed of nine panels, was the first Chicano mural to be painted at a university in the United States. Each artist depicts a different era in the history of la Raza -- a term embraced by the Chicano movement in the 1970s, which refers to mestizo people (the blending of indigenous, Spanish, and sometimes African) of Mexican descent. Carrillo paints a pre- conquest landscape; Hern�ndez depicts the break from colonial bondage; inspired by Francisco Goya's image of Saturn devouring his children, Noriega portrays a "blonde Chicano" eating a mestizo child as an image of warning to future generations if Raza values are abandoned; and Solache portrays revolution against government corruption and the violence passively supported by the Catholic Church. The mural was completed only weeks before the Chicano Moratorium in East Los Angeles, the largest anti-Vietnam War demonstration by any minority group in the U.S., where Carrillo peacefully marched. Chicano History has been in storage since 1990, when the Chicano Studies Research Center moved to a different building on the UCLA campus that did not have enough space to display the mural.
56. KATCAR_190421_061.JPG: Eduardo Carrillo Leda and the Swan, 1996
57. KATCAR_190421_067.JPG: Eduardo Carrillo The Flight of Sister Juana, 1982
58. KATCAR_190421_087.JPG: Eduardo Carrillo The Aerialist, 1994
59. KATCAR_190421_101.JPG: Eduardo Carrillo Warrior, 1997
60. KATCAR_190421_128.JPG: Eduardo Carrillo Study for the Burial (The Deposition), ca. 1983
61. KATCAR_190421_132.JPG: Eduardo Carrillo The Burial (The Deposition), 1983
62. KATCAR_190421_137.JPG: Eduardo Carrillo Woman Holding Serpent, 1975
63. KATCAR_190421_149.JPG: Eduardo Carrillo Las Tropicanas, 1972-1973
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