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Drawing on Tradition: Elena Izcue's Peruvian Art in the School
A set of drawing workbooks embroiled in debates about the Indigenist aesthetic movement.
The ENBA’s Inca art class — and the calumny it provoked — took place against the backdrop of the ascendent Indigenist aesthetic movement, which sought to anchor Peru’s artistic future in the pre-Columbian past, skipping over, as it did so, the gilt-bedecked products of Spanish colonial rule. Around the time El arte peruano went to print, he also unearthed hundreds of magnificent Paracas textiles at a coastal necropolis with the help of his student Toribio Mejía Xesspe, who would shortly go on to provide the first scholarly description of the Nazca Lines, monumental millennia-old geoglyphs in the desert of southern Peru. Though Izcue largely frames El arte peruano as classroom material for primary school students, contemporary commentators emphasized another equally important use for the books: revitalizing domestic craft production by grafting it to a non-European fount of influence.
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