Eduardo Kingman Riofrio's paintings, marked by emotionally poignant renditions of Indians and Laborers executed with minimal anatomical detail, established the predominant pictorial style of Ecuadorian Indigenism in the 20th century.
Born in the southern province of Loja to a North American father and an Ecuadorian mother, Kingman moved to Quito to study at the Escuela de Bellas Artes under the renowned painter, Victor Mideros. In Quito, Kingman met artists such as Diogenes Paredes, Oswaldo Guayasamin, and others, who together with Kingman decided to eliminate the picturesque from their paintings and to focus instead on the harsh realities of Ecuador's indigenous population.
Kingman distinguished himself in the 1930's through his powerful renditions of indigenous workers depicted in a monumental style. The anatomical deformations and non-idealized depiction of the working man became his signature style for which he continues to be known for to this day. His paintings exposed the poverty and toil of indigenous populations around the world. Hi mission as an artist was to teach the world the history of oppression and marginalization of indigenous people not only in Ecuador, but throughout the world.
Kingman's later paintings were marked by exaggerated renditions of hands, a motif which inspired the great Ecuadorian artist, Oswaldo Guayasamin. The hands in these works become the locus for the expression of emotion, most often anguish and despair. In the 1970's Kingman's palette changed dramatically. He infused his paintings with brilliant washes of translucent color, creating a sense of transparency akin to stained glass. Through his easel paintings and murals Kingman not only addressed critical social issues but also developed a powerful personal style to communicate the urgency of his subject matter. (pintoresecuatorianos.com)
Born in the southern province of Loja to a North American father and an Ecuadorian mother, Kingman moved to Quito to study at the Escuela de Bellas Artes under the renowned painter, Victor Mideros. In Quito, Kingman met artists such as Diogenes Paredes, Oswaldo Guayasamin, and others, who together with Kingman decided to eliminate the picturesque from their paintings and to focus instead on the harsh realities of Ecuador's indigenous population.
Kingman distinguished himself in the 1930's through his powerful renditions of indigenous workers depicted in a monumental style. The anatomical deformations and non-idealized depiction of the working man became his signature style for which he continues to be known for to this day. His paintings exposed the poverty and toil of indigenous populations around the world. Hi mission as an artist was to teach the world the history of oppression and marginalization of indigenous people not only in Ecuador, but throughout the world.
Kingman's later paintings were marked by exaggerated renditions of hands, a motif which inspired the great Ecuadorian artist, Oswaldo Guayasamin. The hands in these works become the locus for the expression of emotion, most often anguish and despair. In the 1970's Kingman's palette changed dramatically. He infused his paintings with brilliant washes of translucent color, creating a sense of transparency akin to stained glass. Through his easel paintings and murals Kingman not only addressed critical social issues but also developed a powerful personal style to communicate the urgency of his subject matter. (pintoresecuatorianos.com)
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