Kostumbrism

Kostumbrism in the visual arts (especially in the countries of Latin America) began with ethnographic and geographical sketches, gradually moving into genre and landscape painting. Although Kostanhumbrist often idealized patriarchal mores and customs, and ethnographic motifs turned into idyllic genre scenes, but in general, Kostumbrism played a positive role in the formation of national art schools in many countries.

Large schools of Costumbrist were formed in Cuba , Chile , Argentina , Uruguay and Venezuela . Cuban artists Ippolito Garneri (1783–1858) and Eduardo Laplante (1818–?) Dedicated their work to depicting nature and cities, and F. Miale (1800–1868) and Victor-Patricio de Landalus (1825–1889) specialized in genre painting and brought into Cuban art a lot of motives, picked up from real life. Colombian artist Ramón Torres Mendez (1809–1885) in the series “The customs of New Granada” depicted characteristic types and scenes from Colombian folk life, while Peruvian self-taught artist Francisco Fierro (1803–1879) in his drawings , engravings and watercolors with love and humor captured half a century in the life of Peru. Uruguayan painter Juan Manuel Besnes-Irigoyen (1788–1865), Argentinean Carlos Morel (1813–94), Chilean Manuel Antonio Caro (1835–1903), Mexican José Agustín Arrieta (1802–79) ^{[1 ]} .

•  

  José Aranda Jimenez (1837-1903), Arena, 1870

•  

  Francisco Pradilla , "Selling fish on the beach in Vigo"

•  

  Francisco Pradilla, Woman from Montevideo

•  

  Ramon Torres Mendez , "Butcher in Bogota"

•  

  Joaquin Dominguez Becker , "Scene in Andalusia"

•  

  Joaquin Dominguez Becker , Seville Fair

•  

  Andres Cortes y Aguilar, Seville Fair

•  

  Manuel Antonio Caro, The Zamaque Dance, 1873

•  

  Carlos Morel, “The scene in the grocery store”

The origins of Kostumbrism should be sought in the golden age of Spanish literature of the 16th and 17th centuries, but it grew into a major force in the first half of the 19th century, first in verses and then in essays called Cuadros de costumbres (“ moral scenes”), which described in detail typical representatives of different regions and their social behavior, often with satirical or philosophical overtones ^[2] . Later, Kostumbrism was also developed in drama and in the genre of the novel . The immediate predecessor of the Kostumbrists is the Spanish writer Sebastian Mignano i Bedoy (1779–1845), who wrote in 1820 a series of essays entitled Letters of the Innocent Loafer.

Kostumbrism Spain

The founders of Kostumbrism in Spain are: Ramon de Mesonero Romanos (1803–82) ^[3] , Mariano José de Larra (1809–1837) ^[4] and Serafin Estebanes Calderon (1799–1867) ^{[5] [6]} , as well as Jose Somoza (1781–1852) and Santos Lopez Pelegrin (1801–1846).

Ramon de Mesonero Romanos in 1822, at the age of 20 years, published his first book, The Lost Time, or A Quick Sketch of Madrid in 1820-1821. Beginning in 1832, he began to publish costa-burgist essays under the pseudonym “Curious Talker” in journals (in 1835–1838 these essays were included in the three-volume book “Madrid Panorama”). In 1836, Mesonero Romanos founded the magazine El Semanario Pintoresco Español (Spanish Picturesque Weekly), which he edited for 6 years. Essays of morals were included in the four-volume book “Madrid Scenes”, published in 1842, and in the book “Types, Groups and Outlines ...”, published in 1862. Mesonero Romanos also wrote numerous essay-portraits in which he displayed various social types of his contemporaries, as well as essays in which he described everyday scenes from the life of the Spanish capital.

Mariano José de Larra in the early period of his work wrote novels and dramatic works in the style of romanticism, but he achieved the greatest success in satirical journalism. In his essays, Larra paints a picture of the mores reigning in Spain and subjects them to sharp criticism. In 1828, he published essays in his journal El Duende satírico del día (Satirical Werewolf of Modernity), in 1832–33, in the journal El Pobrecito Hablador (Prosperous Chatterbox). These essays, like the essays of Mesonero Romanos, laid the foundations of the Spanish costambrism.

Serafin Estebanes Calderon, a prominent Spanish scholar and statesman, was also engaged in literary activities, published moral-descriptive essays, which in 1847 were collected in the book "Andalusian scenes" ("Escenas andaluzas"). This book has glorified him as one of the greatest costumber. Essays of Estebanes Calderón, specially written in an archaic language, draw colorful, vital pictures of patriarchal life and holidays, sketches of unusual types, as well as interesting descriptions of Andalusian dances .

In 1843, a collective collection of costumbristers' Spaniards, who portrayed themselves, was published, which brought about the appearance of other similar publications.

Among the Kostuhmbrists of the second half of the 19th century, Cecilia Belle de Faber (1796–1877), who wrote under the pseudonym Fernand Caballero (the collection of morals ”(1862)) of Andalusia and Pedro Antonio de Alarcon , published the book which, with subtle observation and humor, described the pictures of provincial life. He was greatly influenced by Kostumbrism and the work of regionalist writer José Maria de Pereda , who wrote about Besaye , a mountainous region in northern Spain (collections of stories “Mountain Sketches” (1864), “Types and Landscapes” (1871)).

Kostumbrism in Latin America

In Colombia, Kostumbrism spread almost in parallel with romanticism in the middle of the XIX century. Representatives of Kostumbrism united around the magazine "Mosaiko" ("El Mosaico"), which was published from 1858 to 1871. The description of national life and customs is typical for such Colombian writers as José Maria Samper (1828–1888), José Maria Vergara y Vergara (1831–1872), José Eugenio Dias Castro (1804–1865). The satirists Juan de Dios Restrepo (1827–1897) and José David Guarín (1830–1890) also wrote in the style of Kostumbrism. In the works of the famous Colombian writer, politician and diplomat Jorge Isaacs (1837–1895), elements of Kostumbrism and Romanticism are combined (the novel “Maria”, 1867) ^[7] .

Kostumbrism in Costa Rica arose quite late, at the turn of the XIX and XX centuries. In the style of Kostumbrism wrote M. Arguello Mora (1845-1902), who published in 1899 a collection of stories and legends "Picturesque Costa Rica", as well as Ricardo Fernandez Guardia (1867-1950), the author of "Costa Rican Stories", published in 1901

In Nicaragua, Kostumbrism originated at the beginning of the 20th century, in this style the novelist G. Gusman, writers H. D. Gomez and A. Flates Balanos wrote.

In Cuba, Kostumbrism spread in the middle of the XIX century. The most famous representatives of this genre were: Gaspard Betancourt Cisneros (1803–1866), José Maria de Cárdenas i Rodrigues (1812–1882), José Victoriano Betancourt (1813–1875), L.V. Betancourt (1843–1885).

In Bolivia, Kostumbrism originated at the end of the XIX century. In this style are written the novels by the writer Lindauro Ansetaega de Campero (1846–1898) and stories devoted to the provincial life of A.Samudio (1854–1928).

In Mexico, Kostumbrism spread in the 40s of the XIX century. A feature of Mexico's prose of the mid-19th century was that it combined elements of romanticism, costambrism and realism. The most famous representative of the Kostumbrism genre is Juan Bautista Morales (1788-1856). The poet Guillermo Prieto (1818–97) published in 1883 a collection of satirical poems, Street Muse, which also belongs to this genre. The writer Costumeist writer Manuel Payno (1810–94) belongs to the novels “Devil's Tricks” (1845–46), “A Man with a Situation” (1861), “Rio Frio Gangsters” (1889–91) and a collection of stories “Gloomy Evenings »(1871), in which the author describes a kaleidoscope of the social life of Mexico: the life and customs of the poorest strata of the population, artisans and representatives of the Mexican high society ^[8] .

In Chile, Kostumbrism developed in a controversy with romanticism. The largest representative of Chilean Kostumbrism was José Joaquin Vallejo (“Chilean Lara”, 1811-1858), who in his satirical stories wrote about the life of various social strata. Memoirists José Sapiola (1802–1885), Vicente Pérez Rosales (1807–1886), Daniel Riquelme (1857–1912) wrote with elements of this style. Earlier, than in other countries of Latin America, realism originated in Chile, which closely merged with Kostumbrism. Alberto's brilliant Ghana, the first in Latin America and the largest Chilean realist, also wrote with elements of Costumbrism (the cycle of novels The Human Comedy of Chile).

In Argentina , in contrast to most other countries, Cossumbrianism was embodied in poetry. The poem “Faust”, written in 1866 by Estanislao del Compo (1834–1880) and the poem “Santos Vega”, written in 1885 by Rafael Obligado, are devoted to the rural theme.

In Venezuela, Kostumbrism began to strengthen from the middle of the XIX century, in this style they wrote Daniel Mendoza (1839–1867), Nicanor Bolet Peras (1838–1906).

In Guatemala, Jose Milla i Vidaurre (1822–1882) became the ancestor of Kostumbrism, who wrote a collection of essays “Moral Pictures” (1865), in which he depicted the real life of the country.

• José Escobar "Costumbrismo entre Romanticismo y Realismo"
• Art Encyclopedia - Kostumbrism
• - Kostumbrism - an article from the Great Soviet Encyclopedia .
• Megaencyclopedia of Cyril and Methodius
• Latin America, Volume 1, Soviet Encyclopedia Publishing House, Moscow, 1979, pp. 281,337,403
• Latin America, Volume 2, Soviet Encyclopedia Publishing House, Moscow, 1982, p. 62
• Ukrainian Soviet Encyclopedic Dictionary, Volume 2, the main edition of the Ukrainian Soviet Encyclopedia, Kiev, 1988, p.153