Josué Sánchez

[2] Marina Núñez del Prado was one of the most widely acclaimed sculptors of Latin America, her work characterized by rolling curves and bulk and by the use of such spectacular materials as black granite, alabaster, basalt and white onyx, as well a different native Bolivian woods.

[4][5][6] In 1938, she left her post and traveled through Bolivia and Peru, Argentina, Uruguay, the United States, Europe, and Egypt.

Y fue el espaldarazo que necesitaba para consolidar un estilo basado en una estética andina.

[1] Sanchez painted murals in the Catholic churches in Chongos Altos in 1973, in Morococha in 1982, and in the Convento de Ocopa in 1993.

[1] Marina Núñez del Prado's prescience of Sanchez's acceptance in Europe came to fruition when Sanchez traveled to Germany in 1983 to paint a mural in the church of the Holy Spirit in Aachen and[7] later completed another mural in Germany in the church of Litzelstetten by the banks of Lake Constance.

[11]"Josué Sánchez se apoya fundamentalmente en la técnica de los artesanos.

[11] What Sanchez has done then is to create a vision of the Andean world translating the techniques and worldview of local artisans of carved gourds into the new medium of acrylic with its expanded palette.

Sanchez exalts the collective life, work, play, and ritual holidays of the peasants in an existence that seems unalterable and infinite.

[11] Beginning in the 1980s when Peru was convulsed with the fight with Sendero Luminoso, Sanchez's work began to emphasize death and violence and presented an allegory of the massacres and genocide of thousands of peasants murdered and forgotten in clandestine burials.