From Valdivia to the Inca heritage
The origins of Ecuadorian culture date back to the fourth millennium BC. The Valdivia civilization (3500-1800 BC) is one of the oldest sedentary peoples in the history of the Americas. It is distinguished by its early production of female figures in clay. Settled in the provinces of Guayas and Santa Elena, the Valdivians developed a remarkable ceramics technique dominated by reds and grays. As each female figure is unique, these "Venuses" are thought to represent members of the community.
Despite valuable archaeological sites, little is known about the history of Ecuador prior to the 15th century. Inca remains, however, speak for themselves. Today, the Inca influence continues to be felt in Ecuadorian traditions, language and craftsmanship. The Inca people were present in the region as early as the 11th century, but it wasn't until the 15th century that the Inca Empire underwent a meteoric expansion. The largest Inca site and one of the few pre-Columbian sites in Ecuador, the Sitio arqueológico de Ingapirca, lies 80 km from Cuenca. Designed by the Cañari people, it was originally dedicated to the moon before the Incas dedicated it to the sun and erected the Temple of the Sun. Nearby, the Cara del Inca features a giant face carved into the rock.
The country is rich in archaeological collections. The Museo Municipal de Guayaquil is interesting for its coverage of the city's history through the ages, including some fine carved stone relics. Also in Guayaquil, the Museo Antropológico y de Arte Contemporáneo (MAAC) pays tribute to all Ecuadorian cultures, with rare pre-Columbian anthropomorphic sculptures. It boasts a breathtaking view of Cerro Santa Ana. Pre-Columbian art can also be admired in Quito. The exhibits at the Museo Nacional del Ecuador (MUNA) take us as far back as prehistory. Upstairs, the history of Ecuadorian civilizations is told through the eyes of contemporary painters. An enriching counterpoint!
School of Quito
As a result of colonization, the Catholic religion was imposed on the Amerindians. The Franciscan, Dominican and Jesuit religious orders established themselves everywhere. Quito, which had flourished under the Incas, became Ecuador's second most important city. Other colonial towns sprang up, including Cuenca, Ibarra and Riobamba. Even today, these towns abound in Baroque art.
During the colonial era, Quito acquired a solid reputation for the quality of its religious art. The Franciscan friars Jodoco Ricke and Pedro Gocial are credited with establishing the Quito School of Art in 1551. Under their tutelage, the students produced paintings and sculptures of a quality recognized by all. Their originality lay in the way they combined Christian and indigenous themes. Religious figures are set against Andean landscapes. In Quito Cathedral, the Last Supper shows Jesus and his disciples dining on a guinea pig(cuy) - a traditional Andean dish. The Quito school reached its apogee in the 17th and 18th centuries, led by Manuel Caspicara Chili, Bernardo Legarda and Miguel de Santiago. Where can you admire their works? In Quito, at the Museo Franciscano Fray Pedro Gocial, or at the Museo de Arte Colonial, which houses the Resurrected Christ by Manuel Chili. The Museo de arte religioso de la Concepcion in Riobamba boasts 14 rooms of paintings and sculptures by the Quito school, as well as objects from the colonial era, not forgetting the famous gold and precious stone monstrance.
In Ecuador, many convents house magnificent exhibition rooms. One of the finest examples is the Museo Miguel de Santiago de l'Iglesia y monasterio de San Augustín.
Religious art continued in the centuries that followed, as can be seen at Cuenca's Museo Pumapungo. After the archaeological rooms, an interesting collection of 19th-century religious art includes the Christs of Sangurima and Vélez.
Age of independence
Spain loses control of its colonies during the 19th century. Independence was proclaimed in 1830. Among the painters of the Independence period, Antonio Salas Avilés (1784-1860) produced a body of work imbued with mysticism, without detaching himself from the Andean landscapes so dear to the colonial period. A great portraitist, he was part of the costumbrismo movement, which reflected local habits and customs. He painted both religious figures and natives. By the age of 25, he was already considered a major painter. His influence was immense. At the same time, the 19th century was marked by a neoclassical élan.
Indigenista Movement
The 20th century saw the emergence of the indigenous movement led by Camilo Egas.
Camilo Egas (1889-1962). Born in Quito, this painter and teacher married dancer Marta Gibbons. He was a frequent visitor to Paris, and had a career in Europe and America. On his return to Ecuador in 1926, he set up his first art gallery. His idealized art slowly moved closer to social reality. Sensitive to the Indian cause, he played a key role in the emergence of the indigenista movement, which brought together Diógenes Paredes, Bolívar Mena Franco, Pedro León and the two leading figures, Eduardo Kingman and Oswaldo Guayasamín. In Quito's historic center, the Museo Camilo Egas presents a permanent exhibition of his work.
Oswaldo Guayasamín (1919-1999) fell into the plastic arts at an early age. After studying at the Quito School of Fine Arts, he exhibited his work for the first time at the age of 23. From the outset, his favorite theme was the everyday life of the South American people. He evoked it through social issues such as injustice and racial conflict(Huacaynan). In 1957, he was crowned Best South American Painter at the São Paulo Biennale. Between 1960 and 1990, he produced the 150-painting series L'Age de la colère, expressing his revolt against dictatorships. In contrast, L'Age de la tendresse (The Age of Tenderness) speaks of love and gentleness. Influenced by Picasso and Goya, he painted murals such as those at UNESCO in Paris. In addition to his cycle of murals, his cycle of Portraits permeates Ecuadorian culture. In Quito, don't miss the Casa Museo Guayasamín - Capilla del Hombre, his former home turned museum.
Born in Loja to an American father, Eduardo Kingman (1913-1997) trained in Quito, Venezuela, Peru, Bolivia and California. He made a name for himself when he collaborated with Camilo Egas on the design of the Ecuador Pavilion for the 1939 New York World's Fair. Nicknamed the "painter of hands", he used this motif to raise awareness of the mistreatment of indigenous people. His paintings, like his engravings, cry out his dismay and pain in the face of social injustice. His expressionist work can be seen at the Museo Eduardo Kingman in Sangolquí, near Quito.
Another member of the indigenista movement, Diógenes Paredes, has the title of "painter of the aborigines". Born in Tulcán in 1910, he saw art as a means of conveying the message of the people. He documented their daily reality in the hope of defending their cause.
Opposed to Guayasamín's visions, theartist Tabara (1930-2021) turned early on to abstraction and constructivism, then frequented the circle of André Breton and Joan Miró during the years he spent in Europe. On his return in 1964, his research led to the ancestralist movement, rooted in pre-Columbian cultures. He founded the Informalist group VAN, which proposed a different approach to art that was profoundly Ecuadorian.
Legacy of Tigua
At the crossroads of tradition and modernity, the small, colorful paintings of the Tigua school will catch your eye everywhere. They show scenes of daily life, rural landscapes, llamas, condors, snow-capped volcanoes and Ecuadorians in traditional costume. This indigenous movement was born of an encounter between Tigua-born painter Julio Toaquiza and a tourist. The latter, visiting Tigua in 1971, admired Julio's painted motifs and commissioned a landscape on wood. Julio was inspired to produce typical paintings that were easy to transport. Such was his success that Tigua's style became the standard. The heritage value of the technique, now handed down within families, has been recognized by Unesco. It's true that the art of Tigua has its roots in mythology and ancestral rituals. Behind their apparent naivety, the motifs have their own symbolism. The volcano evokes fertility and vital energy; the couple refers to family values. Unique images of Ecuador to slip into your suitcase.
Contemporary art
To find Latin American art, go to the Cuenca Biennial of Contemporary Art, which takes place in spring. Throughout the year, contemporary art flourishes in Quito, where there are several dedicated venues. These include the Centro de Arte Contemporáneo de Quito in the San Juan district, and the highly regarded Centro Cultural Metropolitano. On these two floors, one can admire photography. Although the discipline is still in its infancy in Ecuador, several photographers are making a difference. Paolo Paredes is interested in social issues (mental health, gender) in relation to culture and religion. Santiago Serrano founded the Paradocs collective to support photographers with solo or group projects. In a personal capacity, Serrano exhibits all over the world.
Back to Cuenca, where the Urban Cultures Festival is held. The Alliance française is multiplying events in favour of street-art, by means of fresco commissions. It also invites international street artists such as Katjastroph, who combines multi-ethnic influences and imagination. His work now adorns the streets of Quito, Cuenca, Loja, Portoviejo and Guayaquil. As a tribute to Andean culture, French artist The Sémor has painted a mural on the façade of the 10 de Agosto Market (Cuenca), right in front of Ecuadorian street artist Mathiz Skillz. Did you know that? The first great female figure of street art is Ecuadorian! Lady Pink made her mark on the international scene, after having been a pioneer of New York graffiti in the 1980s. Pink quickly made a name for herself with her vivid, almost psychedelic palette and her pop culture motifs. She then moved on to painting on canvas, without ceasing to create murals on commission. Her works have been included in major American museums (the Whitney, the Met, the Brooklyn museum).
Urban art is slowly finding its place in Ecuadorian cities. In Guayaquil, between two buildings in the city centre, a private company has set up the Museo al Aire Libre, with local paintings exhibited in the open air. In the centre of Quito, the committed street artist Mona Caron has covered the facade of a building that was a little too grey with plant motifs.
