A Life for Art : The Jaime Andrade Ecuadorian Collection

July 22, 2011 through August 30, 2011


Enrique Alvarez
Bibliografo sobre cartulina, 2002

Born in Salcedo, Ecuador.

Alvarez received a Master of Visual Arts degree, with Honorable Mention, from the Universidad Nacional Autónoma de México (UNAM) in 1996. He also received a degree in architecture from Universidad Central del Ecuador, Quito. In Ecuador, Alvarez has gone on to receive widespread national recognition for his artistic merit. In 1998, he was the recipient of a Pollock-Krasner Foundation grant, and in 2000, was awarded first prize in the Second Latin American Exhibition of Religious Art in New York. His works have been exhibited in some of the most important cultural centers in Ecuador, and have been widely exhibited internationally, as well, in Mexico, Switzerland, Peru, China, Poland, Italy, Japan, Egypt, Malaysia, Spain, and the United States. Alvarez lives and works in Quito, Ecuador.

Héctor Anchundia
Oleo sobre lienzo, 1995

Born in Vinces, 1942.

Anchundia studied at the Universidad Central del Ecuador and Escuela National de Bellas Artes in Quito. His first exhibit was in 1969 at the Museu da Republica, Rio de Janeiro, Brazil. His arrival in New York in the 1970s was transformative to his life and work. He has since been included in exhibitions at the Metropolitan Museum of Art in New York, the Brooklyn Museum, New Jersey City University, and elsewhere. He has had solo exhibitions at the Casa de la Cultura, Guayaquil (1986), Museo Arqueológico del Banco del Pacifico, Guayaquil (1997), and the Consulado General del Ecuador, New York (1999).

Félix Arauz
Acrilico sobre papel, 1965

Born in Guayaquil, 1935.

In 1957, Arauz began studying under César Andrade Faini at the Escuela Municipal de Bellas Artes in Guayaquil. In 1967 he received a government grant to travel to the United States with fellow artists Gilberto Almeida and Jaime Ville, in order to visit and study galleries and museums. Arauz’s first U.S. exhibition was at the Pan American Union in Washington, D.C. in 1970; his first European exhibition was in Basel, Switzerland in 1986. Arauz has had twenty solo exhibitions in Ecuador between 1961 and 2001, and has received numerous honors and awards. He continues to work in Guayaquil, where he has been a professor at the Escuela Municipal de Bellas Artes, since 1966.

Hugo Bastidas
Spanish Layers
Oleo sobre lienzo, 2007

Born in Quito, 1956.

Bastidas moved to the United States in 1960, where he went on to receive his undergraduate degree from Rutgers University, and his Masters of Fine Art from Hunter College, City University of New York. He has since received numerous awards, including a Fulbright Fellowship (1990) and a Pollack-Krasner Foundation Grant (1992). His work is represented by Nohra Haime Gallery in New York City, where he has had thirteen solo exhibitions, the most recent, Fin de Siècle, in 2011. He has also had solo exhibitions at the QCC Art Gallery (2000), Gyeongnam Art Museum, Korea (2008), and the Jersey City Museum (2008). Recently he has been admitted to the National Academy in New York. Bastidas lives and works in New York City and New Jersey, where he also teaches.

Pablo Caviedes
In Back of the Corner
Acrilico sobre lienzo, 2004

Born in Cotacachi, 1971.

Caviedes studied at the Instituto de Artes Plásticas Daniel Reyes in Ibarra and at the École National Supérieure de Beaux-arts in Paris. He was awarded the prestigious “Paris Prize” in Quito (1994), and was one of the ten artists under forty to be included in the landmark Paris exhibition, Latin America & the Caribbean: A New Generation of Artists (1998). In 2009, Caviedes was included in the exhibition Fusion: American Classics Meet Latin American Art, at the Biggs Museum of American Art in Dover, Delaware, and also Ecuadorian Contemporary Art, presented at The United Nations, New York. The artist lives and works in New York City.

Víctor Hugo Cevallos
Acrilico sobre lienzo, 1972

Born in Atuntaqui, 1949.

Cevallos studied at the Pittsburgh Academy, where he trained both in fine and commercial art, and developed a distinctive style, incorporating letters and text into his work, which he calls “Neo-Monogram.” He has exhibited internationally in Colombia, Venezuela, Ecuador, and Mexico. In the United States, he has been included in New York exhibitions at the Salmagundi Club, the National Arts Club, the National Academy, the Brooklyn Museum, and elsewhere.

Amaru Chiza
Procolombian Submarine
Lapiz y pastel sobre cartulina, 1985

Born in Ecuador.

Chiza is of Quechua Inca ancestry and was raised in the Quechua tradition and language.
He studied at the Universidad Central del Ecuador and the Escuela National de Bellas Artes in Quito, where he had his first solo exhibition in 1969. Known both as a painter and a printmaker, since 1972, his work has become well known in the United States, where he has been included in exhibitions at The Metropolitan Museum of Art, the Brooklyn Museum, and elsewhere. He was included in the Bienal Intercontinental de Arte Indigena Ancestral Milenario, Ecuador (2010).

Arturo Constante
Composition #22
Acrilico sobre lienzo, 2000

Born in Guayaquil, 1943.

Constante studied at Escuela de Bellas Artes in Guayaquil, and the Escuela Departmental Artes Plásticas in Cali, Colombia, where he had his first solo exhibition in 1968. His first New York exhibition was presented at the Casa Social & Cultural Ecuatoriana in 1974, and a retrospective of his work was presented at the Pinacoteca Moderna del Museo Municipal Guayaquil in 1991. Constante’s work has been presented in numerous solo and group exhibitions, both in Ecuador and New York.

Rafael Díaz
Acrilico sobre lienzo, 2000

Born in Urcuqui, 1958.

Días trained at the Universidad Central, Facultada de Artes in Quito. Since his first solo exhibition in 1983, he has exhibited widely in Ecuador, France, Spain, the United States, and elsewhere. His paintings were first shown at QCC Art Gallery in 1990. The artist is a member of the Visual Arts section of the Casa de la Cultura de Ecuador. Díaz lives and works in Spain.

Vicente Donoso
Oleo sobre lienzo

Born in Guayaquil,

Donoso began painting as a child, under the influence of his father, Reynaldo Donoso, who worked painting and decorating the interiors of churches. Although he considers himself primarily as self-taught, Donoso attended the Academia de Bellas Artes in Guayaquil, where he was particularly grateful to his teacher Luis Peñaherrera and Abel Gavilanez. He became close to other painters of his generation, including Abdón Calderón, Alberto Cadena, and Eloy Cumbet, and his own style was strongly influenced by Surrealism. Known both as a painter and a muralist, Donoso has exhibited extensively in Ecuador, but also in the United States and Europe since 1972. The artist has lived and worked in Salinas, Ecuador, since 1975.

Robin Echanique
Oleo sobre lienzo

Born in Loja, 1948.

Echanique trained as a professor of visual arts, under César Andrade Faini and Alfredo Palacio, at the Escuela Municipal de Bellas Artes in Guayaquil, where he graduated in 1969. With a grant from the Spanish government, he continued his studies in engraving and lithography in Madrid at the Escuela de Artes y Oficios, y de pintura mural en la Real Academia de Bellas artes de San Fernando. By 1978, Echanique’s work began to be widely exhibited throughout Ecuador and Spain. In 2000 the Museo Municipal de Guayaquil presented a retrospective exhibition of his work. The artist lives and works in Spain.

Gonzalo Endara Crow

Born in Bucay, 1936; died in Quito 1996.

Considered one of the most important Latin American artists of the late 20th century, Endara Crow’s interest in art developed from an early age. He studied painting at the Universidad Central del Ecuador in Quito, and then taught at the Escuela de Bellas Artes in Loja. In 1974, he published the essay “Latin American Indigineous-Mestizo Art,” and his own work, which has been described as “Magic Realism” was inspired both by Surrealism and by native Andean culture. Also known as a sculptor and muralist, Endara Crow created two sculptural monuments in Sangolquí, Ecuador. His work has been exhibited internationally, and he received the Swiss International Naive Painting award (1982) and an award at the 1st Bienal de La Habana, Cuba (1984). He was a member of the Henri Rousseau group.

Susana Falconi

Born in Quito
Falconi’s father was a painter, and she grew up surrounded by art. She studied at the Art Students League and Parsons, The New School for Design in New York, the Academia de Artes Guerrero in Bogotá, the Instituto Tecnoligico Equinoccial and the Universidad Central in Quito. Her paintings have been exhibited in Ecuador, Colombia, Mexico, Switzerland, and the United States. In 2004, Falconi moved to the United States.

 Teodoro Gómez de la Torre
Oleo sobre lienzo, 1980

Born in Quito, 1942

Painter, filmmaker, and scenographer, Gómez de la Torre studied at the Universidad Técnica de PPO, Estudios de audiovisuales and Alcalá de Henares, Spain. As a young man, the artist lived in New York, where he also received training from the Ecuadorian painter Camilio Egas. He subsequently also spent a period of time living in Spain. In his work, the artist aspires to what he has termed a “Seventh Art,” a unification of several art forms. Gómez de la Torre has had solo exhibitions in Ecuador and Spain.

Estuardo Maldonado
Tinta sobre papel, 1967

Born in Píntag, 1928.

Painter, sculptor, engraver, Maldonado studied at the Escuela de Bellas Artes in Guayaquil. He is a member of VAN (Vanguardia Artistica Nacional), the group of painters, founded by Enrique Tábara, which also included the artists Villacís, Molinari, Cifuentes, and Almeida. By 1953, Maldonado was teaching at the Colegio Americano de Guayaquil. In 1956, he was invited by Benjamin Carrion to exhibit at the Casa de la Cultura, Guayaquil. In 1957, Maldonado established residence in Rome, where he studied at the Accademia di Belle Arti. He has participated in over two hundred exhibitions worldwide, including eighty-eight solo exhibitions in galleries and museums, In 2009, Maldonado was presented with the prestigious Premio Nacional Eugenio Espejo award. Today, the Fundacion Estuardo Maldonado promotes the preservation, study, and dissemination of his work. The artist lives and works in Quito, Rome, and New York.

Olmedo Moncayo
Inviatacion a volar
Acrilico sobre lienzo

Born in Ibarra, 1962.

Moncayo studied Agro-industrial Engineering until 1991, but in 1992, dedicated himself to painting. The same year, he had his first solo exhibition at the Museo del Banco Central del Ecuador. Since then he has had solo exhibitions in País Vasco, Spain (1999), Pays de Herve, Belgium (2005), Paris (2005), and New York (2007). His works are permanently installed in the Casa de la Cultura in Ibarra. The artist lives and works in Ibarra.

Humberto Moré
Mixta sobre lienzo, 1978

Born in Esmeraldas, 1929; died in Guayaquil, 1984.

Moré was a self-taught painter, sculptor, and muralist. Known primarily in Ecuador, his first solo exhibition was presented in Guayaquil in 1957. Moré received the First Prize at the 1962 Salón de Julio, and was included in the 1963 Biennale de Paris. He was honored with two posthumous retrospective exhibitions in Guayaquil, at Filambanco (1984) and at the Casa de la Cultura (1999).

Pedro Landivar Bolaños
Vede de Arena
Acrilico sobre lienzo, 2007

Born in Cuenca, 1967.

Bolanos studied at the Escuela de Bellas Artes de la Universidad de Cuenca, following which he worked as an engraver at Richard Hund’s studio in Loja, and at the Janielly studio in Buenos Aires, Argentina. His work has received distinction in his native country. He has had solo exhibitions in Canada, Colombia, Mexico, and Ecuador. This is his first exhibition in the United States.

Mónica Sarmiento
Hoja Hombre Uno
Lapiz con Tinta sobre Papel, 2007

Born in Loja, 1967. 

In 1987, Sarmiento received a degree in drawing and painting from the Escuela de Bellas Artes de la Universidad Técnica Particular de Loja, and did additional training under Estuardo Maldonado. She began her career teaching art at the Consejo Provincial de Loja, and is currently pursuing a doctorate at the Universidad Complutense in Madrid. Solo exhibitions of her work have been presented internationally, including the Museo de la Ciudad de Valencia (2005); the Hangaram Art Museum, Seoul (2005); the Embassy of Ecuador, Washington, D.C. (2005); and the New York Public Library (2011). The artist lives and works in Spain and the United States.

Enrique Tábara
Oil on Paper

Born in Guayaquil, 1930.

Tábara began painting as a child, and was strongly influenced both by Joáquin Torres-Garcia and Manuel Rendón. In 1946, Tábara attended the Escuela de Bellas Artes in Guayaquil, where he received training both from Luis Martinez Serrano, and the German artist Hans Michaelson. Tábara’s first U.S. exhibition was in 1954, at the Pan-American Union in Washington, D.C., following which he received a grant form the Ecuadorian government to continue his training at the Escuela Official de Bellas Artes in Barcelona. By 1959, his work had garnered international attention, and he was asked by André Breton to represent Spain in the Homage to Surrealism exhibition. In 1964, he returned to Ecuador and founded VAN (Vanguardia Artistica Nacional). In 1988, Tábara was awarded the Premio Eugenio Espejo, the country's most prestigious National Award for Art, Literature and Culture, presented by the president of Ecuador. Tábara works and lives in Guayaquil.

Julio Cesar Topazio
Oleo sobre lienzo, 2010

A young, emerging artist, Topazio trained at New York’s Art Students League. While he has, since 2005, been included in several exhibitions, both in New York and Spain, this is his first museum venue.

Manuel Ugarte
Pastel sobre papel. 1978

Born in Guayaquil, 1945.

Ugarte is a painter and engraver. Among some of his lifetime achievements, he has been awarded with Rochester’s Fine Arts prize, New York (1964, 1970), the Cannes Prize (1971), Honorable Mention at 1976 the XII Grand Prix International de Peinture, Côte d’Azur, France, and Honorable Mention at Salón de Julio, Guayaquil (1983). Ugarte has had numerous solo exhibitions in Ecuador, as well as New York (1969, 1973, 1974), Paris (1978, 1980), Barcelona (1979), and Cascaís, Portugal (1979).

Carlos Viver
Leda y el Cisne
Acrilico sobre lienzo, 1968

Born in Quito, 1946.

While painter and engraver Viver considers himself largely self-taught, he trained with Carlos Vicente Andrade at the Escuela de Practica Simón Bolivar, in Quito. His first solo exhibition was held at the Instituto de Arte Moderno Libre in Quito in 1971. In 1979 he received the coveted Premio de Paris award, which afforded an influential period spent in France and Italy, where he was influenced by André Breton, Manuel Ugarte, and Victor Artieda, in whose studio he first trained as a printer. Viver has since been widely exhibited, with solo exhibitions throughout Ecuador as well as internationally, in Germany (1984), New York (1990), Argentina (1991), and Spain (1995). The artist continues to live and work in Quito, Ecuador.

About the Exhibit

I was first introduced to Jaime Andrade in 1991, by Aida Gonzalez, then-director of cultural affairs for the Borough of Queens, in the course of planning our exhibition Ecuador: Arte y Tradición, to which Jaime was a generous lender. That meeting has led to a close and collegial relationship that now spans two decades, during which time I have developed an ever-deepening appreciation for Jaime’s elegant presence, his discerning eye, his generosity, and his profound dedication to art and artists. Queensborough Community College Art Gallery is most pleased to honor Jaime with this exhibition.
Born in 1931 in Otavalo, Ecuador, a city known for its arts and crafts, Jaime Rodrigo Andrade-Vargas was one of eleven children of Teresa Vargas and Alberto Andrade. He attended the Central University in Quito, where in 1958 he received a degree in Education and Social Sciences. Before emigrating to the United States in 1962, he held governmental jobs in Quito and in Bogotá, Colombia. His first job in New York was as a teacher of Spanish grammar at Riverside Church.

In Bogotá, Jaime had met the sculptor Édgar Negret and shared with him his intention to go to the United States. Negret gave him an introduction to his dealer in New York, David Herbert (1920–1995). That meeting would change the course of Jaime’s life, and lead to a friendship that lasted until Herbert’s death in 1995.

In 1963, not long after his arrival in New York, Jaime began working as Herbert’s assistant at the Feigen-Herbert Gallery on East 81st Street. His years of work with Herbert, of whom Frank O’Hara wrote in 1959, “I have the greatest admiration for his enthusiasm, knowledge and judgment in all artistic matters,” constituted a uniquely well-rounded education and apprenticeship in contemporary art. In about 1964, Jaime and Herbert also established together a private gallery in Jaime’s apartment on East 70th Street, where informal exhibitions were presented, with sought after, invitation-only, salon openings. Jaime would later accompany David, briefly, when he became a director at Graham Gallery in 1967, but he went on to work for Lawrence Rubin Gallery (from 1967–71) at the recommendation of John Bernard Myers; and when Rubin became director of Knoedler & Company, Jaime went there with him, beginning as his assistant. After forty years, he is still with Knoedler, where he is now a Senior Associate. His contribution to the gallery has been inestimable, and multi-faceted—many a collector has become a Knoedler client through his skillful ambassadorial efforts, and visitors from around the world make a regular pilgrimage to Knoedler especially to seek him out. In 2004, the gallery honored Jaime’s long career in the arts with a celebration, held in conjunction with the special loan exhibition, Lois Orswell, David Smith, and Friends: Works from the Lois Orswell Collection, Harvard University, an exhibition which came about through Jaime’s initiative. Newly discovered archival information and photographs, from David Herbert’s archive, were included in the exhibition catalogue, which also honored Jaime.

Jaime’s mentor, David Herbert had, as a young man, worked for the legendary dealers Betty Parsons (1951–1953) and Sidney Janis (1952–1959); hence, his connections to both artists and collectors were deep and varied, and included the first generation Abstract Expressionists Franz Kline, Robert Motherwell, Jackson Pollock, Mark Rothko, David Smith, and Clyfford Still, each of whom showed with Parsons and/or Janis while Herbert was there. At Janis, Herbert was known, in particular, as a salesman of New York School artists. It was from Herbert, for instance, that the collector Richard Brown Baker (1912–2002) acquired his two monumental canvases, Pollock’s Arabesque, 1948and Kline’s Wanamaker Block, 1955, both later given to Yale University Art Gallery.

In his first years as an independent dealer, beginning in 1959, Herbert—in some cases in cooperation with his close colleagues Irving Blum and Walter Hopps in Los Angeles, and Robert Fraser in London—was also a significant force in helping to launch the careers of a number of artists, including Ellsworth Kelly, Louis Nevelson, William Scharf, Leon Polk Smith, Andy Warhol, and Jack Youngerman. Herbert’s clients included Lois Orswell, whose entire collection was bequeathed in 1998 to Harvard University Art Museums, and also Ernst Beyeler, Ben Heller, G. David Thompson, and Richard Brown Baker.

As a collector, Richard Brown Baker remained committed to focusing on living, younger, and less established artists and, from 1964–1998, he came to rely on Jaime, whom he had met through Herbert, not only as a trusted friend, but as his curator, often following Jaime’s leads in locating works for his collection. Baker’s very last acquisition, a work on paper by Michael Heizer, was from Knoedler in February 1998, in consultation with Jaime. Over a period of many years, they were also frequent traveling companions on cultural cruises organized by the Smithsonian Institution and National Geographic Society—the last a trip to Russia in 1997.

It was Jaime’s destiny to be sought out as a companion and assistant by other art world figures, as well, including two whom he met through Herbert: photographer Adelaide de Menil, with whom Jaime traveled on expedition to Alaska and British Columbia in preparation for her 1971 book Out of Silence (with text by William Reid); and the painter William Draper (1912–2003), with whom Jaime also developed a lifelong friendship.1

Along with all the exposure Jaime had during the 1960s, and thereafter, to the mainstream of New York’s art world, it was, interestingly, also through Herbert that he first developed an enduring appreciation for contemporary Latin American art. Through contact with José Gómez-Sicre (1916–1991), Chief of the Visual Arts Unit of the Pan-American Union from 1948–1976, Herbert had become interested in exhibiting Spanish and Latin American artists, including his friend and Jaime’s, the Spaniard, Angel Ponce de Leon (b. 1925); the British-born Mexican, Leonora Carrington (b. 1917); and also Alfonso Ossorio (b. 1916), who, while born in the Philippines, retained strong connections to other Spanish-language artists and collectors. In 1961, Herbert presented a group exhibition, Spanish and Latin-American Artists; included were the Colombians, Édgar Negret (b. 1920) and Eduardo Ramirez (b. 1923); the Chilean, Enrique Castro-Cid (b. 1938); the Mexican, José Luis Cuevas (b. 1934); the Guatemalan, Rodolfo Abularach (b. 1933); and the Dominican, Antonio Toribio (b. 1924). Herbert’s active involvement with the Art Lending Service of The Museum of Modern Art included circulation of works by several of those artists.

When, in about 1964, Jaime began modestly to form his own collection, his taste turned, in particular, to pre-Columbian art and also to contemporary Spanish and Latin American art, especially the art of Ecuador. One might say, as with many dedicated collectors, that his collection formed around his contact with and appreciation for the artists themselves. The Pan-American Union regularly sent visiting Latin American artists to Herbert and Jaime, who assumed the status of unofficial cultural liaisons in New York. Both were forthcoming in facilitating contact with galleries and collectors, and even in effecting private sales.

Among the first Ecuadorian artists Jaime met and collected were Felix Arauz (b. 1935), Estuardo Maldonado (b. 1930), Luis Enrique Tábara (b. 1930), Manuel Ugarte (b. 1945), and Manuel Velasteguí (b. 1946). He has since encouraged and supported the careers of three generations of Ecuadorians, many of whom he has collected in depth. And his collection includes not a few works that were given to him over the years, in gratitude for his help and support.2

Jaime is now widely acknowledged as a veritable ambassador of Ecuadorian culture, and in 2010 was presented the Fondation Gonzalo Rubio Award by the Instituto Otavaleño de Antropología for his contribution to the diffusion of Ecuadorian culture. Not only has he been the cultural host to generations of Ecuadorians visiting New York, he has also gone to great lengths to host Americans in Ecuador, including multiple visits by David Herbert, William Draper, Richard Brown Baker, the artist Reeve Schley, and others, all of whom, as a result, developed deep appreciation for Ecuador and its culture. William Draper also documented his trips with an extensive series of paintings and sketches of the Otavalo landscape—particularly the Andrade family farm, “La Magdalena”—all of which were left to Jaime when the painter died in 2003. In 2010, in cooperation with QCC Art Gallery, Jaime organized an exhibition of twenty-five of Draper’s Ecuador paintings, which was presented at the Casa de la Cultura Ecuatoriana in Ibarra.

Jaime’s legendary generosity extends to institutional munificence. Artworks from his collection have been exhibited worldwide. Major pre-Columbian artifacts from his collection were included in the 1997 exhibition, Prehispanic America—Time and Culture (2000 BC–1550 AD), at the Auditorio de Galicia, Santiago de Compostela, Spain.In 1991, Jaime was a lender to Ecuador: Arte y Tradición, at QCC Art Gallery; and in 1998, works from his collection were included in Zero Latitude: Contemporary Ecuadorian Artists, the first of a series of exhibitions on the art of Ecuador at New Jersey City University. He has donated paintings by Hugo Bastidas to the Gyeongnam Art Museum, Korea; to the Museo del Barrio, New York; and to Rogers University, Newark, New Jersey. Since 1997, he has been a donor of works by contemporary Latin American artists, as well as pre-Columbian art, to QCC Art Gallery. As executor of the Estate of David Herbert, he has made important gifts of archival documents to Harvard University Art Museums; to the Archives of American Art, Smithsonian Institution; and to Queensborough Community College. A permanent installation of the QCC Art Gallery’s Pre-Columbian Collection is planned, to be installed in a space dedicated as The Jaime Andrade Pre-Columbian Collection.
More than a life in art, one may say of Jaime Andrade that his has been a life truly lived for art. We are profoundly grateful to Jaime for the present exhibition, and for his singular role as a steadfast friend and benefactor of Queensborough Community College Art Gallery.