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The MoLAA

During our last visit to the Museum of Latin American Art, we had the chance to explore a brief part of Central and South American Art. As we approached the gate that divided the street from the museum property, we saw a couple of flags indicating the entrance to the lot. When we entered the parking lot, we noticed that, even though the time was definitely not the best for going for a tour in a museum, there were a lot of cars. The building that constituted the museum was very modest and it could be easily confounded with the surrounding ones.

When I entered the perimeter of the building, I had four choices: the first was to enter the restaurant, which was actually almost external to the museum; the second to get in the gift-shop, the third to go into the little working place for children, and last, but not least, to enter the actual museum straight ahead through a short and wide corridor. As one gets to the end of the corridor, the entrance is delimitated by a small table which is barely noticeable from the entrance. Behind the table there is a wide room with all the new acquisitions. This presentation itself anticipates the theme through the show of Diego Rivera's political paintings. In fact, he has the ability to turn famili


For example, in the Columbian area, we can notice a Bottero painting, which shows very bright colours and regular lines. It depicts a very narrow town street with tall walls of houses with small windows and uniform colours; it also comprehends a small fat man dressed with a pin stripes suit. We can notice that Bottero has a very specific style that reflects also in his sculptures. His bronze "big hand", in fact is fat, uniform, and unattached to anything else. His works are scary, but in part delightful, while pleasant for the colours and the composition. His pieces, therefore, have a content and they represent a name and his culture in relation to his country.

In a bowl right below it, an old fat bold woman with wings that start red and end blue, has on her head a yellow dog with wings. In particular, the dog is looking forward and it looks like it is flying, but at the same time it is attached to the woman's head. A red lion, with a small man on its back wearing leather boots and with a red chair on the head, is intertwined with the fat woman. The little man has some weird shades of red on his back that makes me think of a slap mark. On the right side of the lion there are two white columns that resemble the ones on the background. The fat woman is leaning on some green fruit and close to that there is a big green apple. The bowl is on wheels an it is leaning on yellowish tiles. There is a small purple rhino on the bowl too and it is surrounded by other minute animals. The woman, here, definitely is the character in the most important position. Indeed, she is the second biggest "object" in the picture; in fact the background is the thing that occupies the most space.

We can notice that the picture is definitely organized on three levels. In fact we have the background, which in my opinion represents the far past. Then we see that there is a "middle ground" with the lion and the woman, which would represent the closer past. More

Some common words found in the essay are:
Roberto Fabelo, George Marìn, American Art, Art Museum, South American, Beach Museum, Marìn Mexican, Diego Rivera's, Theatre Cuban, fat bold, Central South, central south american, museum definitely, red lion, middle ground, george marìn, enter actual, south american, central south, background fat, notice bottero,
Approximate Word count = 1313
Approximate Pages = 5 (250 words per page double spaced)


  

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