Architecture: The republican phase begins around 1880, with building activity initiated by the economically expanding state, the peak of which falls in the 1920s. Historically, this architecture, known as eclecticismo, is a belated echo of European historicism. The main representatives include: the French Gastón Lelarge (* around 1861, † 1934) and Arturo Jaramillo (* 1876, † 1956), who z. B. build the Palacio de San Francisco (1918–33) with neoclassical and neo-baroque elements. G. Lelarge also builds there, among other things. the Palacio Echeverry (1900), A. Jaramillo 1937 completed the capital churches of Lourdes (neo-Gothic) and Las Nieves (neo-Romanesque) planned in the 19th century. Neo-Romanesque and Neo-Gothic also characterize the Nuestra Señora de las Lajas sanctuary, begun in 1915, in a ravine near Ipiales (completed in 1952) and the Palacio de la Gobernación de Antioquia (1925–28) by the Belgian Agustín Goovaertz (* 1885, † 1939) in Medellín. The Palacio Municipal was built there in 1927–37 in the Art Deco style by Horacio Marino Rodríguez (* around 1863, † 1939) and others. The most important Art Nouveau building is the Teatro Faenza (1922–24) in Bogotá by Juan Ernesto González Concha (* 1893, † 1961) and others. Other important architects are the Belgian Joseph Maertens (* around 1885, † 1950; neo-baroque Palacio Nacional de Justicia, Cali, 1926–33) and Pablo de la Cruz (* 1894, † 1954; including Villa Adelaida, Bogotá, 1919–21).
With the German exile Leopoldo Rother (* 1894, † 1978), the rational Bauhaus style was introduced in the 1930s (including a design for the university town in Bogotá, 1935 ff.), Also represented by Alberto Wills Ferro (* 1906, † 1968) and the Milanese Bruno Violi (* 1909, † 1971). After the visits of Le Corbusier in 1947–51 (unrealized master plan for the redevelopment of Bogotá), the international-style high-rise boom that lasted more than two decades began in the 1950s, initiated by the Edificio Ecopetrol in the capital (1957–58, by Cuéllar -Serrano-Gómez). Functional concrete structures such as the Conjunto Bavaria (1963–67, from Obregón & Valenzuela)), the Edificio Avianca (1966–69, by Esguerra-Sáenz-Urdaneta-Samperand Ricaurte) and numerous subsequent office towers have changed the image of the metropolises to the skyline with skyscrapers. The early residential high-rise buildings in large social housing estates include those of the Centro Urbano Antonio Nariño in Bogotá (1949–52). The most influential architects are Rafael Esguerra (* 1922, † 2000), Germán Samper (* 1924), Camilo Cuéllar Tamayo (* 1909), Gabriel Serrano Camargo (* 1909, † 1982), Rafael Obregón González (* 1921, † 1976) and José Gómez Pinzón (* 1909, † 1988). By Jorge Arango (* 1916, † 2007) and the Catalan Fernando Murtra (* 1914) designed the industrial building Laboratorio Squibb in Palmira (1953–55) based on the architecture of O. Niemeyer . The v. a. brick buildings characteristic of Bogotá by Fernando Martínez Sanabria (* 1925, † 1991) and Rogelio Salmona (* 1929, † 2007); Laureano Forero (* 1938) set a trend that has been observable since the 1980s with the conversion of historical buildings into shopping and leisure centers in Medellín (Centro Comercial Villanueva, 1982).
Fine arts: European currents at the turn of the century (symbolism, art nouveau) can be found particularly in the work of the sculptor Marco Tobón Mejía (* 1876, † 1933). From 1894 to 1934 the landscape painting of the Escuela de la Sabana from the Andean plateau around Bogotá, with its impressionistic to naturalistic character, dominated (including Santa María; Cano; Moros Urbina; Ricardo Borrero, * 1874, † 1931; Jesús María Zamora, * 1875, † 1949; Domingo Moreno Otero, * 1882, † 1948; Roberto Páramo, * 1859, † 1939). Miguel Díaz Vargas (* 1886, † 1926) continues with his late romantic genre scenes and still lifes Roberto Pizano (* 1896, † 1930) and others the tradition of costumbrismo continues.
At the end of the 1920s , the Bachué movement emerged around Luis Alberto Acuña (* 1904, † 1993) and Romulo Rozo (* 1899, † 1964), which contributed to the spread of Indian traditions and mythological lore with its paintings and sculptures. Ignacio Gómez Jaramillo (* 1910, † 1970) and Pedro Nel Gómez (* 1899, † 1984) also belong to her circle. At the same time, the artists create murals influenced by Mexican muralism with figurative compositions of social content. The expressive watercolorists Deborah Arango (* 1910, † 2005) and Carlos Correa (* 1919, † 1985) from Medellín and the sculptor Ramón Barba (* 1894, † 1964) work in the wider environment.. The figurative-naturalistic large-scale sculptures by the monument artist Rodrigo Arenas Betancourt (* 1919, † 1995; e.g. in Pereira, »Bolívar desnudo«, 1956–63) show a direct confrontation with nationalism.
According to thefreegeography, abstract tendencies prevailed in the 1950s, embodied by the expressionist Guillermo Wiedemann (* 1905, † 1969), who has lived in exile in Bogotan since 1939 , with his non-representational paintings and later collages in the tradition of K. Schwitters. The three-dimensional forms of abstraction range from the geometric metal sculptures by Eduardo Ramírez Villamizar (* 1923, † 2004) to painted aluminum objects by Edgar Negret (* 1920, † 2012) to steel sculptures and collages with a spiritual effect by Carlos Rojas (* 1933, † 1997)). The abstract sculptors Beatríz Daza (* 1927, † 1968; Reliefs made of ceramic, glass, plaster and metal) and Olga de Amaral (* 1932; woven carpet objects). The most important non-representational painters are Omar Rayo (* 1928; inter alia references to Op-Art), Armando Villegas (* 1928; lyrical tendencies), Antonio Grass (* 1937; ancient Indian influences), Manuel Hernández (* 1928; symbolic representations) and the dynamic abstract representatives Juan Antonio Roda (* 1921, † 2003) and Alejandro Obregón (* 1920, † 1992), who never completely breaks away from the figurative (a key work on the problem of violence is his painting »Violencia«; 1962, Bogotá, Biblioteca Luis Angel Arango). To be among the first contract artists Felisza Bursztyn (* 1933, † 1982; scrap sculptures) and Bernardo Salcedo (* 1939; assemblages from doll fragments). Since the 1960s, figuration has enjoyed great success, led by F. Botero as Colombia’s most prominent representative, furthermore with lyrical portraits by Enrique Grau (* 1920, † 2004), nudes by Darío Morales (* 1944, † 1988) and dynamic- expressive oil paintings and drawings by Luis Caballero (* 1943, † 1995).
The painters Ana Mercedes Hoyos (* 1942, † 2014), María de la Paz Jaramillo (* 1948) and the particularly socially critical Beatríz González (* 1938) showed themselves influenced by North American Pop Art in the 1970s, also initially Santiago Cárdenas (* 1937) and Jim Amaral (* 1933). Pioneers of the concept art emerging at the same time are Antonio Caro Lopera (* 1950), Alvaro Barrios (* 1945), Juan Camilo Uribe (* 1945, † 2005) and Alicia Barney (* 1952). The younger generation of artists has been picking up on new international developments since the 1980s and thematizing v. a. personal and collective Colombian cultural phenomena (e.g. drugs and terror; inter alia Doris Salcedo, * 1958; María Fernanda Cardoso, * 1963; María Teresa Hincapié, * 1956; Nadín Ospina, * 1960; José Alejandro Restrepo, * 1959).
Graphics: Reproduction made it easier for numerous artists to disseminate political content or helped them to get major propaganda orders (including posters by the painter Sergio Trujillo Magnenat, * 1911, † 1999, in the Art Deco style; woodcuts by the later landscape painter Gonzalo Ariza, * 1912, † 1995). In the 1920s the caricature became very popular (especially Ricardo Rendón, * 1894, † 1931). Luis Angel Rengifo (* 1908, † 1986), who is considered the innovator of graphics, and his students Alonso Quijano (* 1927) and Augusto Rendón (* 1933) work in the neo-expressive figurative style.. The heyday of graphics falls in the 1970s, when experimental workshops emerged from the environment of special biennials with the spread of screen printing. a. Taller 4 Rojo by Nirma Zárate (* 1936, † 1999) and Diego Arango (* 1942), Taller La Huella by Juan Manuel Lugo (* 1945) and Taller Pro Gráfica by Pedro Alcántara Herrán (* 1942), later also Taller Arte Dos Grafico. Successful graphic designers include the painters Humberto Giangrandi (* 1943) and Gustavo Zalamea (* 1951) and, especially in the 1990s, the draftsman José Antonio Suárez (* 1955).
Photography: Photography is initially based on journalistic topics and events, reproduced by Benjamin de la Calle (* 1869, † 1934) and Jorge Obando (* 1891, † 1982), the brothers Ignacio (* 1907, † 1981) and Luis Gaitán (* 1913, † 1998) and Francisco Mejía (* 1899, † 1979). Anthropological approaches can be found in the documentary recordings of the painters Luis Benito Ramos (* 1900, † 1955; occupations and customs of the rural population) and Erwin Kraus (* 1911, † 1998;mountain landscape of the Andes). The main representatives of realistic photography are Leo Matiz (* 1915, † 1998), Abdú Eljaiek (* 1933), Germán Téllez (* 1933) and v. a. Hernán Díaz (* 1931, † 2009). In the field of concept art, Miguel Angel Rojas (* 1946) works with large-format and z. Some of the photographs were painted over.
