Liberation Art in Latin America

Liberation Art-Gayer May 2014

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LIBERATION ART IN LATIN AMERICA

The Visual Evangelism of a Different Gospel

BIBT6023

The Bible and the Arts

University of Sheffield

May 27, 2014


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“Our own aesthetic aim is to socialize artistic expression …

to create beauty for all, beauty that enlightens and stirs to struggle.”

–Union of Technical workers, Painters, and Sculptors, 1924 (David Craven, Art and Revolution

in Latin America 1910-1990, p.25, c.2002, Yale University Press, New Haven and London)

From the beginning of the colonization of the Latin American countries in the fifteenth

century, that region of the world is considered to own a legacy of violence, unrest and

impoverishment. In this history, the Roman Catholic Church’s (RCC) role is well established to

have been part and party to the suppression of indigenous culture, but more importantly: to have

been one of violator of basic human rights. However, in the past one hundred years, the

Church’s legacy with regard to Latin America has transformed into one of solidarity with the

poor. In some cases, it has even been known to promote and take up arms against tyrannical

governments for the sake of the poor in Christ. To that end, religious art which once was merely

a copy of European art came into its own promoting this new idea of the church standing with

poor in a political sphere as well as ecclesiastical. In fact, the Latin American parishes and

leaders equated the work of the political as essential to the ecclesiastical, and the art produced

illustrated the praxis of that interpretation which came to called “Liberation Theology”.

“Henceforth, wisdom and rational knowledge will more explicitly have ecclesial

praxis as their point of departure and their context. It is in reference to this praxis that an

understanding of spiritual growth based on Scripture should be developed … We will give

special consideration to our participation in the process of liberation, an outstanding

phenomenon of our times, which takes on special meaning it the so-called Third World

countries.” (Gustavo Gutierrez, tr. Sr. Caridad Inda & John Eagleson , A Theology of

Liberation – 15th

Anniversary Edition, 1988, p. 11, Orbis Books, Maryknoll, New York)

[emphasis added]


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However, the RCC felt that the gospel being proclaimed and illustrated through these

paintings was a different gospel than the one proclaimed by both Christ himself and by the

magisterium. The definitive work noting both agreements and concerns of the RCC is

Instruction on Certain Aspects of the ‘Theology of Liberation’ which was authored by Cardinal

Ratzinger (Now Pope Emeritus Benedict) August 6, 1984.

“The interpretation of the ‘signs of the times in the light of the gospel’ requires, then, that

we examine the meaning of this deep yearning of people for justice, but also that we study with

critical discernment the theoretical and practical expressions which this aspiration has taken

on.” Section II, 4. [emphasis added]

As ideas of Liberation Theology grew within the communities, religious art demonstrated

this new symbiosis of praxis and faith. The art of Latin America became a prominent voice

teaching a different idea of what it meant to be liberated by Christ. Murals in public and in

churches showed the church as part of the landscape of their history. The role of the church and

individuals would be represented as both oppressor and revolutionary. Paintings retold Biblical

stories in modern day settings of war and oppression. Finally, works of art even substituted

main Biblical characters with revolutionary heroes. This artistic journey goes from traditional to

the shocking.

LIBERTY? THROUGH CHRIST, THROUGH PRAXIS

On September 6, 1968 in Medellin, Columbia, the Latin American Bishops of the Roman

Catholic Church codified a document entitled Poverty of the Church. This document and that

conference are considered the moment of arrival for what is now called “Liberation Theology”.

Liberation Theology (LT) is an interpretation of scripture which arose out of the practical

situation facing the poor and destitute in Latin America. It decried the condition of these people

as inhuman wretchedness. It created a system by which the church may identify with and work


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beside those in great need of “…the goods of this world necessary to live worthily as men ...”.

(Poverty item 4.a.)

In its explanation of the circumstances and train of thought which led to this moment, the

Medellin Conference gave a refined definition of the virtue of Biblical poverty as “spiritual

poverty … the ready disposition of one who hopes for everything from the Lord.” (Poverty 4.b.)

Material poverty was denounced as being “in itself evil” and “contrary to the will of the Lord.”

Poverty of the Church continued with detailing attitudes and laying the groundwork for the

church “to be present in life and in secular works, reflecting the light of Christ, present in the

construction of the world.” (Poverty item 18)

Poverty of the Church pronounced the mission of Christ through the perceived praxis of

Christ. “Christ, our Savior, not only loved the poor, but rather ‘being rich he became poor,’

[materially poor] he lived in poverty. His mission centered on advising the poor of their

liberation and he founded his Church as the sign of that poverty among men.” (Poverty item 7)

An artistic example of this Christ is Christ with the People (fig. 1) by Maximino Cerezo

Berreda, which immediately illustrates Christ as a common man who is leading and aiding

children and villagers. Christ is just an ordinary fellow in a shirt and jeans. Other than the title,

the only way to know this is Christ is because of the traditional halo given Him. This painting is

a very literal picture of Jesus as purposefully and materially poor to reach the poor and lead them

to something better. While seemingly innocent and kind – who would not think of Christ as one

who is with and discusses with the layperson – knowing the idea behind Christ’s mission as

being poor to be with the poor to lead them out of material destitution through revolution if need

be, brings a much deeper meaning to this work.


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The second example of the call for the Christian to purposeful action is from a mural on

the Oscar Romero Spiritual Center in Managua. A detail of Sergio Michilini’s Good

Government(fig.2) shows what D. Kunzle (author-Murals of Revolutionary Nicaragua) calls the

Christian peasant/knight. The peasant is a guerilla fighter with automatic rifle, riding on

horseback, and a cross necklace very visibly around his neck. Behind him is a white dove in

flight. In a “good government,” the armed peasant is doing the work of the Christian by securing

the peace and needs of the people at large. This is of concern to the RCC because of the

promotion of the use of violence, if need be, to eradicate sin. It is to protect one class of person

(the poor) from the other (the oppressive rich).

To quote Gustavo Gutierrez from his book A Theology of Liberation, “Sin demands a

radical liberation, which in turn necessarily implies a political liberation.” (p. 103) Continuing in

the same section, he states,

“Those who reduce the work of salvation are indeed those who limit it to the

strictly ‘religious’ sphere and are not aware of the universality of the process … where

individuals and social classes struggle to liberate themselves from the slavery and

oppression to which other individuals and social classes have subjected them.” (p. 104)

[emphasis added]

Ratzinger’s response to these ideas shows his unhappiness of salvation for only one class

of people and not for another. “As a result, participation in the class struggle is presented as a

requirement of charity itself. … Thus the universality of love of neighbor … will only have

meaning for the ‘new man’, who arises out of the victorious revolution.” (Ratzinger, Section IX,

no.7 Instruction on Certain Aspects of the Theology of Liberation)


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THE CALL TO ACTION FIRST

“The Latin American Church, given the continent’s conditions of poverty and

underdevelopment, experiences the urgency of translating that spirit of poverty [in this

case, their ready disposition to receive from the Lord] into actions, attitudes and norm

that make it a more lucid and authentic sign of its Lord.”

The visual demonstration of that principle lived out is a work by well-known

revolutionary artist Jose Clementa Orozco titled “Padre Hidalgo”. (fig.3) Painted in 1937 as a

fresco in the stairwell of the Palacio del Gobierno in Guadalajara, the very apocalyptic looking

scene unfolds with Fr. Hidalgo leading the charge of Mexican revolution with a flaming torch

and the cross by his side. Hidalgo looks up to heaven with a clenched fist crying up to the

heavens while his torch illuminates a violent battle scene. This painting is so significant because

it is a literal presentation of a man of the RCC in Latin America personally involved in a political

revolution as part of his work for Christ. A fulfillment of “Poverty of the Church” item 7: “The

poverty of so many brothers cries out for justice, solidarity, open witness, commitment, strength,

and exertion directed to the fulfillment of the redeeming mission to which it is committed by

Christ.”

These paintings not only act as exhortation and evangelism, they promote a foundational

component of Liberation Theology which very clearly says that faith follows the praxis.

“The Christian community profession a ‘faith which works through charity.’ …

Theology is reflection, a critical attitude. Theology follows; it is the second step. …

Theology does not produce pastoral activity; rather it reflects upon it.” (Gutierrez, A

Theology of Liberation, p. 9)

This notion is specifically criticized by the Roman Catholic Church which responded:

“Faced with the urgency of certain problems, some are tempted to emphasize, unilaterally

the liberation from servitude of an earthly and temporal kind. They do so in such a way

that they seem to put liberation from sin in second place, and so fail to give it the primary


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importance it is due.” –Cardinal Ratzinger, Instruction on Certain Aspects of the

‘Theology of Liberation’, Aug. 6, 1984

Presenting Christ’s gospel in the light of the eradication of immediate suffering and

poverty brought a greater intimacy between the scriptures with the history of Latin America.

Seeing Christ as the wealthiest of Kings in Heaven who became nothing and lived poor in His

work as liberator gave a personal identity and connection for the Latin American community to

their Savior. Previously, Jesus was someone who was poor and lived with the poor only for the

ultimate purpose of granting freedom from sin. The change in idea made Christ one who

liberates men from spiritual poverty and obligates all to liberate the poor from the social evils

which dehumanize them.

EARLY CHRISTIAN ART IN LATIN AMERICA

Religious paintings during the time of the colonization came from or predominately used

the styles and techniques popular in Europe. A very classical style was known through the mid-

nineteenth century. As was common in Europe, schools where students trained under a master

were established and a piece of art with the master’s signature may not have even been painted

by him. Additionally, etchings and political cartoons from those early years show the great

desire and effort of colonization to meld and bind indigenous culture into a Christian and

European culture.

The 1651 etching created by Abraham Bosse for Thomas Hobbes’ book Leviathan (fig.4)

illustrates the components of assimilation of one culture into another intrusive culture. It is

inherent on the intrusive culture to take over the indigenous. The bottom of the etching shows

the necessary components: Castle and Crown, Church and Pontiff, ammunition, order, armory,


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ecclesiastical government. The entire left side is representative of political government and the

right side of church government. The creature at the top is the king ruling with sword and

mantle. He is made up of the entire body of the public at large and oversees hill, valley, country,

village, castle, and cathedral. All things are brought under submission.

THE HISTORICAL MURAL

Renowned across Latin America, historical murals are fascinating because they always

tell full history of each culture in the quest for a return to sovereignty to include: starvation,

government, soldiers, social ills, a classist worldview, and the role of the church. The most

famous are those painted by Diego Rivera, but there are many others by lesser-known artisans.

Interesting to note in many of them, the role of the church and of faith is shown as both

oppressor and liberator which is in keeping with the basic tenets of LT. The church as oppressor

in art illustrates the system of theology which stands accused as benefiting the bourgeois class.

“… the Medellin Conference refers to the state of things … as a ‘sinful situation’ … [it]

not only criticizes the individual abuses on the part of those who enjoy great power in this

social order; it challenges all their practices, that is to say, it is a repudiation of the whole

existing system – to which the Church itself belongs.” (Gustavo Gutierrez, A Theology of

Liberation, p.102)

As example, Rivera’s very famous Mural of Independence (1961-61) (fig.5) places the

Pope at the beginning the struggle. The background of the painting has a full visual biography of

the oppression of the Mexican poor told through the faces of the wealthy, elite, and powerful

persons who governed Mexico up to the Revolution. In contrast, the foreground middle of the

mural shows a hand being outstretched to help the poor stand and the revolution section itself

holds up the Virgin of Guadalupe while the charge to freedom and to independent governance is

led by the famous figure of Hidalgo.


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A second example is the outside of the Church of the Immaculate Conception. (fig.6)

Painted entirely by local artist Francisco Pantoja in 1990, this work shows the cross emblem

prevalent on the breastplate of the conquistadors. Next to them, Catholic friars convert and

execute natives. However, in the foreground is a crucified Christ and next to Christ is a priest

caring for and protecting the native. Finally, there is an empty cross with broken chains for

liberty.

These murals show the tight relationship between the Latin American peoples and their

faith. They illustrate the frustration of the peasants in their suffering and the exhilaration of the

same in their freedom. Each image in each mural further promotes different parts of the

Theology of Liberation.

TYPES OF CHRIST – Who was crucified?

A theme running through much of the art expressing dissatisfaction with the state of

politics on social justice is crucifixion. The theme is understandable given the fight by the

citizens for necessities such as education and freedom from regimes.

Gloria Guevara, Christos Guerrillo (1975) Christ is a crucified Guerilla fighter. (fig.7)

Gloria Guevara, Christos Alfabetizador (1982) The crucified man represents the death of

literacy. (fig.8)

Diego Rivera, The Nightmare of War and the Dream of Peace, a Realist Fantasy (1951)

On the left is a conversation over Latin America by the Communists and the Capitalists.

On the right is a prosperous city life, up front is a conversation between artists and locals

going about their business, but in the back are seven dead men. Two are hanged, four are


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burned at the stake, there is a firing squad, an atomic bomb and one of the men is a

guerilla crucified. (fig.9)

Diego Rivera Mural of Independence (1960-61) The left half of the mural has the

European government men in the background while the peasants and farmers languish in

the foreground. Among them is a peasant crucified with ropes on a tree. (fig.10)

R. Arellano, Crucifixion The Christ figure is very obviously Che Guevara while the

roman soldiers are played by National Guardsmen. (fig.11)

How can this be? Are these paintings meant to say that Christ is each of these ideas or

people? No, it is much more likely and in keeping with LT that these crucified symbols illustrate

the now very plain point of Christ in Latin America who is known through the works of

revolution. Without this understanding, these paintings could be immediately dismissed as

blasphemous. However, if it is true that Christ is the works and liberation of the destitute, then

each time there is a martyr for the cause, it is as if Christ is crucified again.

WHAT IS “HISTORY”?

While many paintings work to show the tenets of Liberation Theology in its ideas which

push for reform, there are others which show the relationship between the ideas and their

fulfillment in history. This is important as one foundation of LT is how the Church shows her

Christ-likeness through history in the goal moving humanity forward. This is impressively done

through the retelling of Biblical stories through the eyes of the historical events in Latin

America. Two churches are known for works which accomplish this. The first is referred to as

the “Sistine Chapel of the Twentieth Century”. Painted by Diego Rivera in 1926, it is titled The


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Liberated Earth and Natural Forces Controlled by Humanity (fig.12) which can be found at the

Santiago Chapel at the Universidad Nacional Autonoma de Chapingo.

These incredible works are another prime example showing the symbiosis and intimacy

of the Latin American community with their intertwined faith and history. However, viewing

scripture in such literal and historic scenes as in those churches is not something the RCC

especially condones. This is because the entire notion of seeing humanity as its history is a

Marxist philosophy.

The images at the Santiago Chapel are profoundly humanist. Every image is of the

struggle of man against man, the history of the struggle of the Mexican people, the evolution of

man culminating with a massive mural at the sanctuary consisting of mythical-type images. A

cherub blows the wind of change; a pregnant woman lies on her side at the top of the wall while

the bottom has both eschatological and communist-associated elements such as a strong and

naked new man and family with wheat fields and production.

The second is a vibrant collection of works commissioned by an organization called

ENAPUM-DAS (It was a state-run school for artists and artisans) which are found at The Church

of Santa Maria de los Angeles in Managua, Nicaragua. (fig.13) These paintings are extremely

literal in their translation of historic events in light of Biblical stories. Some simply are history

such as the fight of Indigenous leader Diriagen and conquistador Gil Gonzalez. Some of the

panels are portraits of famous figures in history who stood for indigenous rights and a painting of

David and Goliath with a young man named Luis Alfonso Velasquez as David and a serpent-war

machine as Goliath. Martyr Monsignor Oscar Romero is portraitured resembling a saint coming

to the fallen man and even revolutionary figures Carlos Fonseca and Cesear Sandino occupy a

place in this massive work. The whole of the work is quite fantastic. It is a vibrant,


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extraordinary, and visually intense history of the struggle for liberation. At the center, the core,

of the mural is a peasant Christ bowing under the weight of a heavy cross. Helping him to carry

it are Nicaraguan soldiers, peasants, and regular men. All are carrying the cross of Christ – who

is a poor peasant.

While one could argue that these images would and do bring the Latin American

Christian even closer to faith and religion, it is this politization of the gospel of Christ which is

wholly denounced by the Roman Catholic Church. As seen from the evolution so far, the

paintings expressing the ideas of Liberation Theology give way to paintings showing the literal

history and workings of the polarization between traditional orthodoxy and LT orthopraxy.

Then, what is revered in the sanctuary of the Lord, Jesus Christ is a new sainthood of martyrs to

the political cause. To where might this promotion of the emphasis of praxis lead?

BIRTH OF THE NEW MAN – A new nativity?

The most perfect example of the outcome of equating faith with the temporal liberation of

a social class is found in the painting “Birth of the New Man” (fig.14) which can be found at the

Batahola Community Center. It perfectly demonstrates the reverence of the faith in the “new

man” and sainthood of all those who work toward that messianic moment. In this work, Christ

himself is replaced as the new man in a full nativity mural. All around are angels carrying wheat

and peasants bringing offerings of themselves and their harvests. Most striking (other than the

place of the Christ-child being taken now by the eschatological perfect-man) are the three wise

men: Carlos Fonseca, and the two men who inspired and instructed him in revolution; Augusto

Sandino, and Che Guevara.


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Paintings of the “new man” are all over Latin America and most of them are specifically

secular, but many are in relation to religious events or on churches. One of them was promoted

by the government itself and it is a nativity picture titled Christmas in the Revolution – United in

the birth of the New Man. (fig 15) This is the dangerous idea. This is what the Roman Catholic

Church declared to be different gospel. As the ideas worked themselves out, Jesus went from the

liberator of people from their sins, to revolutionary general, and finally, became all human.

Defenders and martyrs of the Christian faith became replaced by defenders and martyrs of the

revolution. A mysterious faith became completely humanized and each element was and still is

documented through painting and mural.


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IMAGES

Kunzle-Murals of Nicaragua Craven-Art and Revolution Coffey-Rev.Art as Culture

Fig. 1. Christ with the People Fig. 2. Detail of “Good

Government”

Fig. 3. Fr. Hidalgo

Fig. 4. Leviathan

Fig. 5. Mural of Independence


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Fig.6. Church of the Immaculate Conception

Fig. 7 Christo

Guerillo Fig 8. Christo

Alfabetizador

Fig. 9 . Nightmare of War and the Dream of Peace


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Fig. 10 Mural of Independence Fig. 11 Crucifixion [Che]

Fig. 12 The Liberated and Natural Forces Controlled by

Humanity

Fig. 13 Resurreccion

Fig. 14 Birth of the New Man

Fig. 15

Christmas in

the

Revolution –

United In the

birth of the

New Man


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CITATIONS FOR IMAGES

(artists names are given in the text)

1. Christ with the People – Murals of Nicaragua, Image 114A

2. Good Government – Murals of Nicaragua, Image 31

3. Father Hidalgo – Art and Revolution, p.42

4. Leviathan – Art and Revolution, p. 15

5. Mural of Independence-How Revolutionary Art Became Culture, p. 100-101

6. Church of the Immaculate Conception – Murals of Nicaragua, p.190

7. Christo Guerrillo – Art and Revolution, p.124

8. Christo Alfabetizador – Gospel in Art, p.61

9. Nightmare of War and the Dream of Peace – How Revolutionary Art… p.58

10. Mural of Independence – How Revolutionary Art… p.100

11. Crucifixion [Che] – Murals of Nicaragua, p.68

12. The Liberated and Natural Forces – Art and Revolution, p.53

13. Resurreccion - http://www3.varesenews.it/blog/labottegadelpittore/wp-

content/uploads/2013/06/079-1024x670.jpg

14. Birth of the New Man – Murals of Nicaragua, Image 18A

15. Christmas in the Revolution – Murals of Nicaragua, Pg.47

http://www3.varesenews.it/blog/labottegadelpittore/wp-content/uploads/2013/06/079-1024x670.jpg

http://www3.varesenews.it/blog/labottegadelpittore/wp-content/uploads/2013/06/079-1024x670.jpg


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16.

SELECTIVE BIBLIOGRAPHY

Catechism of the Catholic Church, c. 1995 Doubleday Press, New York, London, Toronto,

Sydney, Aukland

Cardenal, Ernesto, The Gospel in Solentiname, (tr.Donald Walsh), c. 1976, Orbis Books,

Maryknoll, NY

Caswell, Ramos, Giffords, Pirazzini, Trotter, Saints & Sinners, Mexican Devotional Art, c.2003

Schiffer Publishing Ltd. Atglen, PA

Coffey, Mary K., How a Revolutionary Art Became Official Culture-murals, museums and the

Mexican State. C. c.2012, Duke University Press, Durham and London

Craven, David, Art and Revolution in Latin America 1910-1990, c. 2002, Yale University Press,

New Haven and London

Gutierrez, Gustavo, A Theology of Liberation-History, Politics, and Liberation, 15th

Anniversary

Edition, (tr.&ed. Sister Caridad Inda, John Eagleson)

Kunzle, David, The Murals of Revolutionary Nicaragua 1979-1992, c.1995 University of

California Press, Berkeley and Los Angeles, California

Latin American Bishops, Poverty of the Church, September 6, 1968, Medellin, Columbia.

Retrieved April 20th

from: http://shc.edu/theolibrary/resources/medpov.htm

Ratzinger, Joseph Cardinal, Instructions on Certain Aspects of the “Theology of Liberation”,

August 6, 1984, Retrieved April 20th

from:

http://www.vatican.va/roman_curia/congregations/cfaith/documents/rc_con_cfaith_doc_1

9840806_theology-liberation_en.html

Scharper, Philip and Sally (ed.), The Gospel in Art by the Peasants of Solentiname, c.1984 Orbis

Books, Maryknoll, New York

http://shc.edu/theolibrary/resources/medpov.htm

http://www.vatican.va/roman_curia/congregations/cfaith/documents/rc_con_cfaith_doc_19840806_theology-liberation_en.html

http://www.vatican.va/roman_curia/congregations/cfaith/documents/rc_con_cfaith_doc_19840806_theology-liberation_en.html

Liberation Art in Latin America

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