Peruvian art
Peruvian sculpture and painting began to define themselves from the ateliers founded by monks, who were strongly influenced by the Sevillian Baroque School.
In this context, the stalls of the Cathedral choir, the fountain of the Main Square of Lima[2] both by Pedro de Noguera, and a great part of the colonial production were registered.
The first center of art established by the Spanish was the Cuzco School that taught Quechua artists European painting styles.
In the 19th century, French neoclassic and romantic currents es in L. Montero, Ignacio Merino, Daniel Hernández Morillo and Francisco Masias.
In sculpture, some of the most remarkable artists include Luis Agurto, L. Valdettaro, Joaquin Roca Rey, J. Piqueras, Alberto Guzmán, Victor Delfín and F. Sánchez.
This period coincided with dramatic social and political changes, particularly the land reform initiated under General Juan Velasco Alvarado's military government.
[9] Reflecting on his approach, Ruiz Durand noted, “I had a very clear idea that these posters demanded an urgent, immediate, and enthusiastic message...
[10] Agrarian reform posters 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 of campesinos 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 to Peru's largely illiterate rural population, making them powerful tools for education and mobilization.
It bridged the gap between traditional Indigenous aesthetics and modern graphic design, contributing to a broader redefinition of national identity.
Their influence persists in contemporary Peruvian art, where themes of land rights, Indigenous identity, and social justice continue to resonate.
In the early 21st century, conflicts arose as the Peruvian government expanded oil and mining operations in the Amazon 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.
In the 1980s after the art festival Contacta 1979 the group Huayco was created by Charo Noriega, Mariella Zevallos, Maria Luy, Armando Williams, Herbert Rodriguez and Juan Javier Salazar.
[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.
