3rd Quarter 2015

Nina Sentada, 1951 terra cotta
Francisco Zúñiga’s sculpture is a hybrid of the old world and the new. His focus is on the stocky figures and forms of southeastern Mexico, almost exclusively female, which he renders in a classical style. He shows them in quiet moments, in communion with nature or each other, in tender moments of maternity.

Born in 1912 in San José, Francisco Zúñiga was exposed to the arts early by his father, who ran a workshop of religious sculpture. Although he received his formal training at the School of Fine Arts in San José, he continued to work in the family business. By 21 years of age, he was an accomplished sculptor, draftsman, and engraver. He decided to go to Europe to study in 1936, but was thwarted by the Spanish Civil War. He went instead to Mexico where he spent most of his life. There, he completed his studies under designer Manuel Rodríguez Lozano and sculptor Oliverio Martínez.
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On the Trail to Central American Modernism

We at Ford Fine Art are in our third year of researching for the book, Central American Modernism. It started when we realized there was little information about the artists of the nations between Mexico and South America... and nothing written about the artistic period known as Modernism for the area. Modernism starts in the late 1800s and continues into the 1960s. It comes later to Central America, or shall I say,
it was brought to Central America.

Artists from Guatemala, El Salvador, Honduras, Nicaragua, Costa Rica and Panama went to Europe, the United States, Mexico and occasionally South America to study art in the 40s, 50s and 60s. Most of them returned to their native homelands filled with a new way of making art: impressionism, cubism, abstraction and more. They combined what they had experienced... read more

Researcher Danielle Estey, Mark Ford and host Mauricio Alvarez in El Salvador

Vibrant But Not Yet Connected

Y.ES Collect Contemporary El Salvador

As we culminate the process of finishing the research for Central American Modernism we mustn’t fail to showcase other pioneers with like-minded ambitions to give this region a stage on which to orate.

Y.ES an impressive collaborative project presented by Claire Breukel, Simon Vega and Mario Cader-Frech, interviews 28 prominent authorities on “the history of war in El Salvador, the (lack of) art market, the presence of the diaspora and importance of cultural exchange, and the impact of the Internet on the art community.” For decades the contributors for this project have identified the issues, the obstacles that need to be overcome to address them, and the potential solutions that could impulse the region to take its place amidst the international art spectrum consistently. They have taken a bold step in that direction to “start” somewhere and “start” now. Kudos to all those involved, Ford Fine Art has enjoyed your contribution and find a congruency in thinking that hopefully brings us closer and closer in the future. Congratulations.

By Antonia Cañas Cole

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