Cecilia Alvarez

Cecilia Alvarez (born April 15, 1950) is an American Chicana artist known for her oil paintings and murals depicting themes of feminism, poverty, and environmental degradation in the United States and Latin America.[1] Alvarez's painting Las Cuatas Diego has been featured in books and exhibitions around the world.[2] Alvarez has also illustrated the bilingual children's book Antonio's Card authored by Rigoberto González.[3] Her work is collected by the Mexican Fine Arts Museum,[4] the Seattle Art Museum and by the Kaiser Foundation.[5]

In this Spanish name, the first or paternal surname is Concepción and the second or maternal family name is Alvarez.
Cecilia Concepción Alvarez
Born (1950-04-15) April 15, 1950
San Diego, California
NationalityAmerican
Known forChicana Art
Notable work
  • Las Cuatas Diego, 1979* La Tierra Santa, 1983* Si Te Puede Pasar a Ti, 1992
StyleHer oil paintings and murals depict themes of feminism, poverty, and environmental degradation in the United States and Latin America.
Websitewww.ceciliaalvarez.com

Biography

Alvarez was born in National City, California to a Cuban father and a Mexican mother.[6] She was raised by both of her parents in San Diego, California and Tijuana, Mexico.[7] Her art draws inspiration from her diverse upbringing within a variety of cultural and political settings.

Alvarez is a self-taught artist.[6] Alvarez started studying at San Diego State University, however, she did not complete her education because she felt that it wasn't necessary. She had been told by faculty that because she was a Mexican-American woman, her work would never be considered "fine art."[7] Alvarez began to help her family financially at the age of twenty-three, after leaving college.[8]

In 1975 Alvarez moved to Washington state where she has created the majority of her artwork.

From 1978 to 1981, she attended Eastern Washington University.[5]

She currently resides and works in Seattle, Washington with her husband and two children.[6]

Art

Alvarez is primarily a painter, but she has worked on large public artwork and on helping youth to create murals to raise cultural awareness.[9] Alvarez uses personal imagery in her art in order to critique issues that are politically and culturally important to her.[7] She has stated that she hopes to "create discourse through her art, on issues of entitlement, poverty and who is expendable in our collective."[9] Alvarez attempts to redefine the cultural values assigned to women and the concept of family using her art.[8] Her duality as a woman and Chicana define her art as she states, "how we fit into the universe, telling jokes, music, laying tile, whatever it was that evolved that whole ability to think of our humanity."[10] The recurring use of female images in her work relates to the artists close relationship wither her mother and her aunt, both of whom bestowed upon her the values of family and human connection.[11][12]

Through her art, she hopes to spark dialogue on the societal importance placed on notions like beauty and power.[9] In 1991, Alvarez gifted a color print of her painting "Las Cuatas Diego" to The Mexican Museum's permanent collection located in San Francisco.[11][4]

In 1994, Alvarez was commissioned by the Washington State Arts Commission for a large public art project where she designed and created art and architectural elements in the Student Activities Center at Seattle Central College. She worked closely with the building's architects. These elements are etched windows, sandblasted concrete patterns, ceramic tiles, and exterior cladding. She noted, “The intent of these patterns was not only to pay homage to the cultures represented, but to attempt to infuse the structures and the site with a sense of belonging and intimacy.”[13]

She created the illustrations for the children's book Antonio's Card written by Rigoberto Gonzalez published in 2005.[14]

Notable works
  • Las Cuatas Diego, 1979
  • La Tierra Santa, 1983
  • Si Te Puede Pasar a Ti, 1992

Selected Group Exhibitions
  • 2016 Beyond Aztlán: Mexican and Chicana/o Artists in the Pacific Northwest, Museum of Northwest Art (MONA).[15]

References
  1. "Daughters of Immigration: Cecilia Alvarez, Tatiana Garmendia, and Blanca Santander | M. Rosetta Hunter Art Gallery". artgallery.seattlecentral.edu. Retrieved March 31, 2020.
  2. "Winter/Spring 2001: So to Speak". Archived from the original on March 13, 2005.
  3. González, Rigoberto (2005). Antonio's Card / La Tarjeta de Antonio. illustrated by Cecilia Alvarez. CBP. ISBN 978-0-89239-204-9.
  4. Puga, Kristina (May 22, 2012). ""Faces" tell a story at The Mexican Museum". NBC Latino. Retrieved March 31, 2020.
  5. "Cecilia Alvarez | Complete Resume". Evergreen State College Library. 2004. Retrieved March 23, 2015.
  6. Alvarez, Cecilia (2008). "Cecilia Alvarez: Biography". Cecilia Alvarez. Retrieved March 18, 2015.
  7. Freese, Lauren M. (2013). "Frida Kahlo and Chicana Self-Portraiture: Maya Gonzalez, Yreina D. Cervantez, and Cecilia Alvarez". Iowa Research Online. University of Iowa. Retrieved March 18, 2015.
  8. Ruiz, Vicki L., ed. (2007). Latinas in the United States: A Historical Encyclopedia. Indiana University Press. pp. 42–43. ISBN 978-0-253-11169-2. Retrieved March 6, 2016.
  9. "Chicana Artist : Cecilia Alvarez". www.ceciliaalvarez.com. Retrieved March 31, 2017.
  10. "Latina/o Art: Gender in Art". www.umich.edu. Retrieved March 5, 2016.
  11. Puga, Kristina (May 22, 2012). ""Faces" tell a story at The Mexican Museum". NBC Latino. Retrieved March 5, 2016.
  12. "Chicano & Latino Artists of the Pacific Northwest at Evergreen | Home". archives.evergreen.edu. Retrieved October 10, 2020.
  13. "Artworks by Cecilia Alvarez, in WA's State Art Collection". ArtsWA. Retrieved October 10, 2020.
  14. Anonymous (September 21, 2012). "Antonio's Card". Colorín Colorado. Retrieved October 12, 2020.
  15. "Cecilia Alvarez | Artist Profile with Bio". www.mutualart.com. Retrieved October 12, 2020.
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