Efraín Enrique Recinos (May 15, 1928 — October 2, 2011)

Efraín Enrique Recinos (1928-2011) was a Guatemalan architect, muralist, painter, and sculptor who used his work to celebrate the vibrant and diverse culture of the Guatemalan people (Giron 2011).  He is known for his architectural work on the National Library of Guatemala, the Centro Cultural Miguel Ángel Asturias national theater, and the National Mortgage Building (Exposition Art Blog 2018).  Additionally, his 2-dimensional artworks have drawn comparisons to Picasso (Giron 2011; Liberti 2010).

In his architectural work on the Gran Teatro, Recinos created a unique open-air theater that incorporated aspects of sculpture, vibrant colors, and some of his previous works on designing public spaces (Luján-Muñoz 2003).  By creating spaces that are architectural different than much of Guatemala, Recinos challenges the architectural standards that exist as a result of Spanish colonization.  Additionally, Efraín Enrique Recinos has communicated a desire for artwork and museum spaces to exist in natural environments rather than being surrounded by concrete and cement (Liberti 2010).  Contrary to traditionally western views of the wilderness as being at odds with humans and artwork, Recinos sees the two as having a deep connection and emphasizes interaction between the two.  This can be seen most prominently in his outdoor sculptures and open-air theaters.

Despite the widespread respect for Efraín Enrique Recinos’ work within Guatemala, his murals have often been subject to criticisms, specifically by the government.  Following the political turmoil beginning in 1954, Recinos began to use his artistic abilities to comment on social issues.  Due to the messages of the murals and sculptures Recinos created during the mid-twentieth century, many of his works were censored by the government (Luján 2009).  Multiple of his murals during this period depict women who have been blindfolded or gagged before meeting an unfavorable fate (Luján 2009).  Overall, Efraín Enrique Recinos’ work both celebrates the culture of Guatemala and condemns the history of repression during the civil war.  The history of Guatemala is complex and involves both oppression and celebration of the diverse cultures of Central America, and Recinos effectively incorporates both into his artistic works.

Works Cited

Exposition Art Blog. 2018. “Efraín Enrique Recinos.” Medium. https://milenaolesinska77.medium.com/efra%C3%ADn-enrique-recinos-90bf31d54bd5 (March 10, 2022).

Gandara, Ricardo. 2009. Efraín Recinos. https://www.flickr.com/photos/ricardogandara/3544252377/in/photostream/

Giron, Rudy. 2011. “Farewell to Efraín Recinos, The Guatemalan Picasso.” AntiguaDailyPhoto.Com. https://antiguadailyphoto.com/2011/10/04/farewell-to-efrain-recinos/ (March 10, 2022).

Liberti, Lainie. 2010. “I Met the Guatemalan Picasso.” Raising Miro on the Road of Life. http://www.raisingmiro.com/2010/07/02/i-met-the-guatemalan-picasso/ (March 11, 2022).

Luján, Irma de. 2009. Murales Censurados – Efraín Recinos. ed. José Toledo Ordóñez.

Luján-Muñoz, Jorge. 2003. “Recinos, Efraín, Jr.” In Oxford Art Online, Oxford University Press. http://www.oxfordartonline.com/groveart/documentid/oao-9781884446054-e-7000071046 (February 24, 2022).