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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
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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
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