Poster by Francisco Laso Ríos (Laundress)

S/ 30.00S/ 30.00

Measurements: 60 x 42 cm
Printed reproduction.

José Francisco Domingo Laso de la Vega y de los Ríos, known as Francisco Laso, was a 19th-century Peruvian painter, a precursor of Peruvian indigenism and a prominent portraitist.

The Washerwoman depicts a mulatto woman hanging clothes to dry on one of the capital's flat roofs, a typical Lima scene that, however, is approached from the rigorous conventions of European academic painting. In fact, Laso gives the image of the woman the dignity and beauty of a classical sculpture, a clear response to the ethnic hierarchies upon which the Western aesthetic canon was based. This refined stylization is also reflected in the synthetic treatment of Lima's roofs, resolved in almost geometric forms.

Measurements: 60 x 42 cm
Printed reproduction.

José Francisco Domingo Laso de la Vega y de los Ríos, known as Francisco Laso, was a 19th-century Peruvian painter, a precursor of Peruvian indigenism and a prominent portraitist.

The Washerwoman depicts a mulatto woman hanging clothes to dry on one of the capital's flat roofs, a typical Lima scene that, however, is approached from the rigorous conventions of European academic painting. In fact, Laso gives the image of the woman the dignity and beauty of a classical sculpture, a clear response to the ethnic hierarchies upon which the Western aesthetic canon was based. This refined stylization is also reflected in the synthetic treatment of Lima's roofs, resolved in almost geometric forms.

Measurements: 60 x 42 cm
Printed reproduction.

José Francisco Domingo Laso de la Vega y de los Ríos, known as Francisco Laso, was a 19th-century Peruvian painter, a precursor of Peruvian indigenism and a prominent portraitist.

The Washerwoman depicts a mulatto woman hanging clothes to dry on one of the capital's flat roofs, a typical Lima scene that, however, is approached from the rigorous conventions of European academic painting. In fact, Laso gives the image of the woman the dignity and beauty of a classical sculpture, a clear response to the ethnic hierarchies upon which the Western aesthetic canon was based. This refined stylization is also reflected in the synthetic treatment of Lima's roofs, resolved in almost geometric forms.

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