| Summary: | An undisputed figure of Latin American art in the second half of the 20th century, Fernando de Szyszlo (Lima, 1925-2017), fascinates many, among other reasons, because of the intericonic dialogue between the abstractionism of European avant-garde and Peruvian Amerindian traditions. His work, which is marked by a tension between here and there, also arises from a need for modernity that can only be satisfied by frequenting the great cosmopolitan centers of the post-World War II period, including Paris. However, the dialectic that produces this encounter, meaning, the appropriation of an abstract language led to represent a primordial spatiality prior to the Conquest or contemporary to it, is produced by a progressive awareness that averts him from the illusions of Western modernity. In this sense, the aim of this article is to show this journey by suggesting some clues of interpretation regarding its assimilation of those exogenous traditions, the same that, without modifying the local contribution, allow him to find his voice within the landscapes, myths and rituals that he sketches successfully until today.
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