Costumbrismo


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Costumbrismo

 

a movement in the literature and fine arts of 19th-century Spain and Latin America. Arising out of the interest of romantics in folk life, costumbrismo was a turn toward a realistic portrayal of the world, expressing an upsurge of national consciousness and a desire to convey features of the people’s life, frequently with an idealization of patriarchal morals and customs.

In literature, costumbrismo developed primarily in the genre of the essay but was also given expression in the novel, drama, and poetry. The precursor of Spanish costumbrismo was S. de Mifiano (1799–1845), the author of the sharply critical essays Letters From a Poor Idler (1820). The establishment of costumbrismo in Spain is associated with the names of R. de Mesonero Romanes (1803–82), M. J. de Larra (1809–37), S. Estebanez Calderon (1799–1867), J. Somoza (1781–1852), S. Lopez Pelegrin (1801–6), and M. Lafuente (1806–66). In 1843, costumbristas published a collective work, Spaniards Depicted by Themselves, which brought about the appearance of many similar publications. The influence of costumbrismo was felt in the work of the regionalist writers A. de Trueba (1819–89) and J. M. de Pereda (1833–1906).

Costumbrismo arose in Latin America in the 1840’s. Important writers were J. J. Vallejo (1811–58) in Chile, J. de Dios Restrepo (1827–97) and T. Carrasquilla (1858–1940) in Colombia, F. Pardo (1806–68) and the poet R. Palma (1833–1919) in Peru, and J. B. Morales (1788–1856), M. Payno (1810–94), and the poet G. Prieto (1818–97) in Mexico.

Costumbrismo played an important role in the graphic arts and painting of Latin American countries. It was often linked to the scientific study of a country and was based on the documentarily accurate depiction of nature and the simple, attentive, and precise reproduction of the characteristics and colorful features of folk life and culture; at the same time the ethnographic motif in the works of the costumbristas frequently turned into lovingly recreated, at times idyllic, genre scenes. Costumbrismo realized the aesthetic value of nature and the events of day-to-day life and introduced simple people into the subject matter of Latin American art.

A significant school of costumbristas took shape in Cuba (V. P. Landaluce, 1825–89; F. Mialhe, 1800–68). Costumbrismo also developed in Colombia (R. Torres Mendez, 1809–85), Argentina (C. Morel, 1813–94), Uruguay (J. M. Besnes y Irigoyen, 1788–1865), Chile (M. A. Caro, 1835–1903), and Mexico (J. A. Arrieta, 1802–79).

REFERENCES

Polevoi, V. M. Iskusstvo stran Latinskoi Ameriki. Moscow, 1967.
Spell, J. R. “The Costumbrista Movement in Mexico.” Publications of the Modern Language Association of America, 1935, vol. 50.
Costumbristas españoles, vols. 1–2. Edited by E. Correa Calderón. Madrid, 1950–51.
Duffey, F. M. The Early “Cuadro de Costumbres” in Colombia. Chapel Hill, N.C, 1956.
Rojas, M., and M. Carrizzo. Los costumbristas chilenos. [Santiago de Chile, 1957.]
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
No hace mucho, en otro lugar, afirmabamos sobre la serie El Ministerio del Tiempo, poco despues de finalizar su primera temporada, que se habia convertido en un fenomeno de culto por haber supuesto una doble ruptura dentro de la ficcion televisiva espanola contemporanea: por un lado, por ser una propuesta original en el cultivo del genero fantastico en una television poco proclive a este registro generico, mas volcada hacia el costumbrismo y otras formas del realismo cotidiano; por otro, por desviarse drasticamente del modo de representacion dominante establecido en la television espanola del siglo XXI, establecido en torno a la idea de "familiaridad", tanto en lo que se refiere al desarrollo del material narrativo, como en el diseno de un espectador transgeneracional [1].
To some extent, Cacnio was heir to the costumbrismo of the Philippines' Hispanic heritage.
Sin embargo, las posibilidades del costumbrismo a la hora de escribir hacen necesario diferenciar entre costumbrismo y articulo de costumbres, aspecto en el que han coincidido la mayoria de investigadores a la hora de establecer genero y origen.
Ocasio sees in costumbrismo instances of both documentary and imaginative representations of race, and he detects in such representations tensions familiar to Cuba's blanco criollo nationalism in the era of slavery--in particular, the situation of white writers skirting abolitionism, slavery terror and violence, and the power of Cuban whiteness, even as they put into symbol and plot Cuba's inhabitants of African descent and perceptions of the island's African diasporic cultures.