Visibility and Invisibility in Art History: The Work of Eduardo Kingman
Molloy Faculty Mentor
Rosa JH Berland
Presenter Major
Criminal Justice
Presentation Type
Oral
Location
Hays Theater, Wilbur Arts Building, Molloy University
Start Date
1-5-2026 11:48 AM
End Date
1-5-2026 11:54 AM
Description (Abstract)
The strength, resistance, and labor of marginalized communities in Ecuador were components that Eduardo Kingman sought to make visible through Indigenismo. This research will examine how “El Carbonero” and “Los Trabajadores” express Kingman’s dedication to portraying labor, dignity, and identity through the depiction of hands. Kingman was known as ‘El Pintor de las Manos’ for his expressive usage of hands, a central symbol of indigenous survival and endurance. To Kingman, hands were not just a mode of survival; instead, he emphasized that hands elevate, unite, and create connections within the community. Both portraits expose social inequality and economic exploitation visible in indigenous groups and the working class at the hands of colonialism. By observing how Kingman portrays his art, the question arises: Why are Latin American modern artists frequently overlooked in standard art narratives? As a Molloy student, I find this concept appealing as it brings me closer to understanding the Latin American identity and social dynamics.
Keywords
Eduardo Kingman, Latin American modernism, Ecuadorian art, Expressionism, Social Realism, Indigenous representation, Art history, Modern Latin American art, Latin American Artists
Related Pillar(s)
Study
Visibility and Invisibility in Art History: The Work of Eduardo Kingman
Hays Theater, Wilbur Arts Building, Molloy University
The strength, resistance, and labor of marginalized communities in Ecuador were components that Eduardo Kingman sought to make visible through Indigenismo. This research will examine how “El Carbonero” and “Los Trabajadores” express Kingman’s dedication to portraying labor, dignity, and identity through the depiction of hands. Kingman was known as ‘El Pintor de las Manos’ for his expressive usage of hands, a central symbol of indigenous survival and endurance. To Kingman, hands were not just a mode of survival; instead, he emphasized that hands elevate, unite, and create connections within the community. Both portraits expose social inequality and economic exploitation visible in indigenous groups and the working class at the hands of colonialism. By observing how Kingman portrays his art, the question arises: Why are Latin American modern artists frequently overlooked in standard art narratives? As a Molloy student, I find this concept appealing as it brings me closer to understanding the Latin American identity and social dynamics.
