Fernando Laso’s Habitante de las cordilleras del Perú (Inhabitant of the Peruvian Highlands), 1885

Fernando (Francisco) Laso was born in 1823 to a colonial family; particularly significant was that his father, Benito Laso, was one of Peru’s “founding fathers.” Privileged, to say the least, Laso studied law in university only to discover his love for art. After developing artistic skills, Laso was encouraged by his art school director to further develop his skills in Europe, where he spent time going back and forth from Lima and controversially funded by the Peruvian government. 

After returning more permanently, Laso spent time as a firefighter, later to be elected as a “deputy” in Peru’s Congreso Constituyente. While in office, discussions about his government-funded trips to Europe were exposed, causing an eruption of controversy and dislike towards Laso. In return, he produced three paintings in honor of the Peruvian government, including Habitante de las cordilleras del Peru (Cembalest, 2019). 

Habitante de las cordilleras del Peru (Inhabitant of the Peruvian Highlands) was one of the said paintings and was also submitted for the 1855 World’s Fair in Paris (Cembalest, 2019). This piece is significant as it represents indigenous and native Peruvians and the effects of colonization decades after Peru’s independence and represents the art style indigenismo, which Laso became very fond of during his trips to Europe. 

While looking at the importance and overall message of Habitante de las cordilleras del Peru, some details to note are particularly the object where the light focuses most on in the piece. The item, a Mochica pot, is an example of indigenous and native Peruvian art. It is significant how the man depicted on the Mochica pot has its hands behind its back, almost as though it is a prisoner. There is also what seems to be a rope tied around the man’s neck. Today it is displayed in La Municipalidad Metropolitana de Lima next to a portrait of the infamous conquistador, Pizzaro (Cembalest, 2019). This placement is another example of the oppression native and indigenous people of Peru have faced and continue to face.

Indigenismo is essential to Peru and other countries that have been colonized, as newly independent countries such as Peru tried to erase pictures and art of and by indigenous people. By contributing this piece to the government, Laso reminded Peruvians of their roots and their ancestors’ roots, publicly opposing the “white-washing” of Peru’s indigenous history and culture.

Works Cited

Cembalest, Robin. “The Art That Made Peru Peru.” ARTnews.com, November 18, 2019. 

https://www.artnews.com/art-news/news/what-makes-peruvian-art-peruvian-2164/.

“Francisco Laso.” Wikipedia. Wikimedia Foundation, 2019. 

https://en.wikipedia.org/wiki/Francisco_Laso.