Untitled

This painting, in which the play of light and shade highlights a group of Aymara people gathering in a closeknit group against the backdrop of the Andes mountains, captures the atmosphere of the Bolivian countryside and the enduring beauty of the traditional lifestyle that was shaped over the centuries. During his time in Bolivia (from 1936 to 1955), Rimša developed a deep affection for painting the picturesque landscape around La Paz: Lake Titicaca, the snow-capped Andean peaks of Illampu and Mururata, and the rugged southern panorama of the Llojeta Mountains. The Bolivian public came to see him as an Indigenist, recognising their beloved land in the mountain scenes, celebrations and depictions of everyday life that he so vividly portrayed. Through his works, Rimša contributed to the formation of Bolivian nationalism, which was based on an idealised vision of the past.

Text author Laura Petrauskaitė

This painting, in which the play of light and shade highlights a group of Aymara people gathering in a closeknit group against the backdrop of the Andes mountains, captures the atmosphere of the Bolivian countryside and the enduring beauty of the traditional lifestyle that was shaped over the centuries. During his time in Bolivia (from 1936 to 1955), Rimša developed a deep affection for painting the picturesque landscape around La Paz: Lake Titicaca, the snow-capped Andean peaks of Illampu and Mururata, and the rugged southern panorama of the Llojeta Mountains. The Bolivian public came to see him as an Indigenist, recognising their beloved land in the mountain scenes, celebrations and depictions of everyday life that he so vividly portrayed. Through his works, Rimša contributed to the formation of Bolivian nationalism, which was based on an idealised vision of the past.

Text author Laura Petrauskaitė