| Part ofa series on the |
| Culture of Peru |
|---|
.svg) |
History
Cultural heritage of Peru |
 Peru portal |
Peruvian art has its origin in theAndean civilizations. Thesecivilizations rose in the territory of modernPeru before thearrival of the Spanish.
Peru's earliest artwork came from theCupisnique culture, which was concentrated on the Pacific coast, and the Chavín culture, which was largely north ofLima between the Andean mountain ranges of the Cordillera Negra and the Cordillera Blanca. Decorative work from this era, approximately the 9th century BCE, was symbolic and religious in nature. The artists worked with gold, silver andceramics to create a variety of sculpture and relief carvings. These civilizations were also known for theirarchitecture and wood sculpture.
Between the 9th century BC and the 2nd century CE, theParacas Cavernas and Paracas Necropolis cultures developed on the south coast of Peru. Paracas Cavernas produced complex polychrome and monochrome ceramics with religious representations. Burials from the Paracas Necropolis also yieldedcomplex textiles, many produced with sophisticated geometric patterns.
The 3rd century BCE saw the flowering of the urban culture,Moche, in theLambayeque region. TheMochica culture produced impressive architectural works, such as theHuacas del Sol y de la Luna and theHuaca Rajada ofSipan. They were expert atcultivation in terraces andhydraulic engineering and produced original ceramics, textiles, pictorial and sculptural works.
Another urban culture, theWari civilization, flourished between the 8th and 12th centuries inAyacucho. Their centralized town planning was extended to other areas, such asPachacamac,Cajamarquilla andWari Willka.
Between the 9th and 13th centuries CE, the military urbanTiwanaku empire rose by the borders ofLake Titicaca. Centered around a city of the same name in modern-day Bolivia, the Tiwanaku introduced stone architecture and sculpture of a monumental type. These works ofarchitecture and art were made possible by the Tiwanaku's developingbronze, which enabled them to make the necessary tools.
Urban architecture reached a new height between the 14th and 15th centuries in theChimú Culture. The Chimú built the city ofChan Chan in the valley of the Moche river, inLa Libertad. TheChimú were skilledgoldsmiths and created remarkable works ofhydraulic engineering.[citation needed]
TheInca Civilization, which united Peru under its hegemony in the centuries immediately preceding the Spanish conquest, incorporated into their own works a great part of the cultural legacy of the civilizations which preceded it. Important relics of their artwork and architecture can be seen in cities likeCusco, architectural remains likeSacsahuaman andMachu Picchu and stone pavements that unitedCusco with the rest of theInca Empire.
![Textile doll (11th century), Chancay culture, found near Lima, Walters Art Museum. Of their small size, dolls are frequently found in ancient Peruvian tombs.[1]](/mt/?noimg=&dark=on&url=https%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aChancay_-_Textile_Doll_-_Walters_83768.jpg)
Peruviansculpture andpainting began to define themselves from theateliers founded bymonks, who were strongly influenced by the SevillianBaroque School. In this context, the stalls of theCathedral choir, the fountain of the Main Square ofLima[2] both byPedro de Noguera, and a great part of the colonial production were registered. The first center of art established by the Spanish was theCuzco School that taughtQuechua artists European painting styles.Diego Quispe Tito (1611–1681) was one of the first members of the Cuzco school andMarcos Zapata (1710–1773) was one of the last.
Painting of this time reflected a synthesis of European and indigenous influences, as is evident in the portrait of prisoner Atahualpa, byD. de Mora or in the canvases of the ItaliansMateo Pérez de Alesio andAngelino Medoro, the SpaniardsFrancisco Bejarano andJ. de Illescas and the CreoleJ. Rodriguez.
During the 17th and 18th centuries, theBaroque Style also dominated the field ofplastic arts.
![Preserved colonial wall painting of 1802 depicting Hell,[3][4][5] by Tadeo Escalante, inside the Church of San Juan Bautista in Huaro (Peru)](/mt/?noimg=&dark=on&url=https%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aFresque_%25C3%25A9glise_huaro.JPG)
The image of Mary in Our Lady of Bethlehem hosts a lot of European styling and representations of the Western Mary. She is elevated from the ground, and is wearing a crown and has the faint image of a circular halo behind her head. She is being presented as cherubic figures pull back drapery, as if she is being "showcased." Surrounding her are small cherubic heads, often referred to as "puti's" in Southern American culture. They represent the innocence of children and act as a nod to her maternity and Jesus. She is dresses in obvious western, high-culture garments – highly adorned. Even the infant Christ is portrayed in western apparel.
_-_Google_Art_Project.jpg)
In the 19th century,French neoclassic andromantic currents es inL. Montero,Ignacio Merino,Daniel Hernández Morillo andFrancisco Masias.
The establishment of theFine Arts School of Lima (1919) had a decisive influence on Peruvian sculpture and painting.
Insculpture, some of the most remarkable artists includeLuis Agurto,L. Valdettaro,Joaquin Roca Rey,J. Piqueras,Alberto Guzmán,Victor Delfín andF. Sánchez. Among the painters,Daniel Hernández,R. Grau,Cesar Quispez Asin andJose Sabogal are particularly notable. Sabogal headed the indigenous movement, which was one of the main influences on Peruvian contemporary painting. Among the most notable painters in the indigenous movement wasJulia Codesido.[6] Some of the most widely recognized painters areFernando de Szyszlo,Alberto Davila,Armando Villegas,Sabino Springett,Bernardo Rivero,J. Alberto Tello Montalvo,Victor Humareda,M. A. Cuadros, Ángel Chávez,Milner Cajahuaringa,Arturo Kubotta,Venancio Shinki,Alberto Quintanilla (wiki Es),G. Chávez,Tilsa Tsuchiya,David Herskowitz,Óscar Allain,Carlos Revilla,Sérvulo Gutiérrez andAmilcar Salomon Zorrilla (Peru).
In the field of photography,Martín Chambi made major contributions.
During the 1960s and 1970s, Peruvian art underwent significant transformation, moving beyond traditional mediums like painting and sculpture to incorporate graphic design, poster art, and comic strip techniques. This period coincided with dramatic social and political changes, particularly the land reform initiated underGeneral Juan Velasco Alvarado's military government. The 1969Agrarian Reform Law aimed to redistribute land from large estates to peasant communities, challenging the longstanding feudal agrarian system. This reform catalyzed a wave of politically charged art that engaged with the struggles of Indigenous and rural communities.[7]
Artists likeJesús Ruiz Durand played a prominent role in this movement. Ruiz Durand’s posters, described as "rustic, high-circulation street posters" utilized bold graphic design and bright colors inspired byPop Art to communicate messages of social justice, agrarian reform, and Indigenous empowerment.[8] His art utilized images he had taken on the field and later transformed into acomic book strip style he thought anyone could understand.[9] Reflecting on his approach, Ruiz Durand noted,“I had a very clear idea that these posters demanded an urgent, immediate, and enthusiastic message... I decided to use the comic strip technique because, who doesn’t know that language?”[9] His works, such as the poster"Tierra o Muerte" ("Land or Death"), drew directly from Velasco's slogan "Land for Those Who Work It" and were widely distributed in public spaces, fostering political discourse at both grassroots and national levels.[10]
Agrarian reformposters often depicted rural workers reclaiming land, agricultural abundance, and the strength of Indigenous communities, reflecting a radical reimagining of Peruvian identity. For example, Ruiz Durand’s"El Pueblo Unido" ("The People United") integrates imagery ofcampesinos wielding tools as symbols of resistance and unity. Another notable piece,"Los Campesinos Tienen la Razón" ("The Peasants Are Right"), merges Indigenous visual motifs with political slogans, emphasizing the role of rural labor in national development.
These artworks were not confined to galleries or museums; they were displayed on city walls, in town squares, and during public rallies, reaching audiences across class and geographical divides. By incorporating visual storytelling, these posters appealed toPeru's largely illiterate rural population, making them powerful tools for education and mobilization.[10]
The art of this period left a lasting legacy on Peruvian visual culture. It bridged the gap between traditional Indigenous aesthetics and moderngraphic design, contributing to a broader redefinition of national identity.[11] While some critique these works as state propaganda, others view them as authentic expressions of grassroots resistance and empowerment. Their influence persists in contemporary Peruvian art, where themes of land rights, Indigenous identity, and social justice continue to resonate.[9]
Even decades later, tensions surrounding development, land rights, and the representation of Indigenous communities continued. In the early 21st century, conflicts arose as thePeruvian government expanded oil and mining operations in theAmazon region, prompting organized Indigenous resistance and, at times, violent confrontations. The state’s emphasis on modernity and development often overlooked Indigenous perspectives, contributing to ongoing debates over territorial integrity and environmental stewardship.[12]
Teresa Burga was a multimedia artist that works with conceptual art since the 60s and 70s. She was a pioneer in media art, art and technology and installation art in Peru. She was one of the most important non-objectualist artists of those decades in Peru.
InsculptureCristina Gálvez[13] was one of the most influential artists and art educators.In the 1980s after the art festival Contacta 1979 the groupHuayco was created by Charo Noriega, Mariella Zevallos, Maria Luy, Armando Williams, Herbert Rodriguez and Juan Javier Salazar. This group appropriated the means of production and iconography of popular aesthetics.[14]Within the history of Contemporary Art in Peru the Third Biennial of Trujilo in 1990 played an important role.[15] This biennial included local artists as well as artists from neighboring countries.Jorge Eduardo Eielson andJorge Piqueras were among the exhibiting artists that returned to Peru from Europe to participate within this biennial. It was the last biennial in Trujillo. In 1992 the artist Jaime Higa presented an exhibition at The Museum of Italian Art in Lima curated by Gustavo Buntinx.[16] The 80s were marked by the civil war and artists responded to the political situation. Among these artists areEduardo Tokeshi, Ricardo Wiesse and Alfredo Marquez.Later on in 1997 the First Ibero American Biennial was produced in Lima directed by Luis Lama. This biennial allowed for the exchange of ideas and a wider exposure for Peruvian artists. A memorable moment within this biennial was the unexpected performance byElena Tejada-Herrera, which became an milestone within the history of Peruvian performance art. In 1999 Tejada-Herrera was awarded the first prize in the contest Passport for and Artist with a performance for which she hired street sellers performing on the streets of Lima.[17]Another milestone in the history of contemporary Peruvian art is the Travestite Museum created by the philosopher and drag queen Giussepe Campuzano in 2003.[18]
Chulucanas pottery originates in thePiura Region. Inspired by pre-Incan ceramics, the bold, graphic pottery is now exported all over the world.[19] Designs are varied, but are predominated by black and white. There are several bigger companies but a lot of small manufactures are in Chulucanas itself and in the nearby villages of Quatro Esquinas.
TheAyacucho Region is known for itsretablos, or devotional paintings.San Pedro de Cajas in Ayacucho produces collectible looms. Cusco artisans createstuffed animals anddolls.Cochas-Huancayo is known for itsmate buriladogourd art, withApolonia Dorregaray Veli considered a leading practitioner of the art form.[20]
Folk art (specifically dance, music, and costume) is preserved at theCentro Qosqo de Arte Nativo in Cusco, which is recognized as the first folk institution of all of Peru.[21][22]
{{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link)