Diferencia entre revisiones de «Sofía Urrutia Holguín/en»

Nombre	Sofía Urrutia Holguín
Fecha de nacimiento	1912
Nacionalidad	Colombo Boliviana
Ocupación	Pintora
País de nacimiento	Bolivia
Ciudad de nacimiento	La paz
Fecha de fallecimiento	2002
País de fallecimiento	Colombia, }}
Ciudad de fallecimiento	Bogotá
Familia	Francisco José Urrutia (Padre)

Revisión actual - 14:28 13 sep 2021

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Sofía Urrutia Holguín was a Colombian-Bolivian painter born in La Paz in 1912 and an exponent of naive or primitivist art. Through an informal artistic education amid humanities courses and private classes with painters, she made a place for herself among the most distinguished artists of the 1940-1970 period, receiving positive recognition from critics such as Walter Engel and Marta Traba. Her paintings dealt with natural and religious themes as well as elements of Colombian culture.

Biography

Sofía Urrutia was born into a prominent family from the city of Popayán. Her father, Francisco José Urrutia, served as foreign minister and carried out diplomatic work with countries such Bolivia, Spain, Switzerland and the United States, which explains the artist’s birthplace of La Paz. Her artistic training was self-guided, through humanities courses during her family’s stays in Europe and later through contact with artists that were reinvigorating Colombian art. During the 1940s, Sofía took classes with the artist Guillermo Wiedemann at his workshop in the Teusaquillo neighborhood of Bogotá, and from that moment he would be a great friend. While the naivety of her work was a quality that was praised from the outset on the artistic circuit, recently there has been discussion around whether the word ‘naive’ is the most accurate description of the creative methods of Sofía Urrutia and other painters from the second half of the 20th century in Colombia. The term “primitivist” has been put forward in modern times to recognize this visual language, in dialogue with artistic trends that developed in other cultural and historical contexts since the beginning of the century. She was a tireless reader until her last days and painted in an authentic and unpretentious style. In her final years, her friends would visit her house to read to her, as her sight had diminished significantly and she was no longer able to read or paint. She passed away in Bogota in 2002.

Artistic career

In the 1940s, Sofía Urrutia started working very actively responding to the calls for the most important national group exhibitions at that time. In October 1948, she was one of the 26 participants of the Contemporary Painting Exhibition at the National Museum of Colombia, one of the two events that the institution organized between 1946 and 1950, in addition to the Annual Artists Show. In doing so, Urrutia earned a place among the “Generation of the 1950s,” and from then on was considered an exponent of naive art^[1] In 1959, as a result of her outstanding work, the Austrian critic Walter Engel acknowledged her special place as part of a group of female Colombian painters, together with Judith Márquez, Lucy Tejada and Cecilia Porras^[2]. In the early 1970s, Urrutia also had the support of the Argentinian critic Marta Traba, who dedicated one of her columns in the La Nueva Prensa newspaper to the artist in 1963 and described her work as “a spring that never runs dry”^[3].

Features of her work

Art criticism at the beginning of the 1950s emphasized “the peace, clarity, and naive and crystal-clear beauty” of Sofía Urrutia’s paintings^[4], characterizing them as elements taken from a “wondrous toy shop”^[5], thus drawing the subtle line between childlike representation — to which primitivist art was compared — and the resolute, purposeful decision by the artist to portray reality through a non-professional technique. The writings of the critics included her in the avant-garde trends of the mid-20th century, pointing to her success in applying “colorful patches and striking touches of white” in paintings such as Beach on the Cauca River (Playa en el río Cauca)^[6]. Urrutia’s scenes depict public spaces in cities such as Cartagena, Bogotá and Popayán. Other paintings are transformed into ethnographic portraits of indigenous and mestizo communities, such as Beach on the Cauca River, Cuna Indians (Indios Cuna) and Little Holy Week (Semana Santa Chiquita). Flowers are the central theme of her still lifes, which feature hydrangeas, roses and delphiniums. Her paintings devoted to religious themes portray figures such as St. Francis of Assisi, scenes from the Old Testament like Eden and The Tower of Babel, and stories such as The Creation of the World, Noah’s Ark, The Destruction of Sodom, Joseph Sold by his Brothers and Moses Saved from the Waters. The Bible and the novel One Hundred Years of Solitude by Gabriel García Márquez were essential references in the construction of her imagery.

Featured works

1952: Beach on the Cauca River and Annunciation (Anunciación), oil on canvas. Honorable mention at the 11th Annual Show of Colombian Artists.
1967: The Girl and the Doll (La niña y la muñeca), Bogota Museum of Modern Art collection.

Obras de Sofía Urrutia en las Colecciones del Banco de la República

**Works by Liliana Porter in the collections of the Banco de la República**
Title	Year	Location	Technique	Registration number
St. Francis (San Francisco)	1969	Reserve	Painting	AP0303
Popayán Rooftops (Tejados de Popayán)	1983	Reserve	Print	AP3966
Cuna Indians (Indios Cuna)	Not recorded	Reserve	Painting	AP3846
Self-Portrait (Autorretrato)	Not recorded	Reserve	Painting	AP3845
Cartagena Rooftops (Tejados de Cartagena)	ca. 1964	Reserve	Painting	AP0240

Timeline

1912: Born in La Paz, Bolivia.
1948: Participates in the Contemporary Painting Exhibition at the National Museum of Colombia.
1950: Holds her first individual exhibition in the Gregorio Vásquez hall of the National Library of Colombia.
1962: Takes part in the 14th National Artists Show.
2002: Diners Gallery dedicates a retrospective exhibition to her in Bogotá. She passes away in the same city.
2016: The Banco de la República presents some of her works in the exhibition Apparent Naivety (Aparente ingenuidad), which looked back at Colombian primitivist painters.

References

↑ Vidales, L. (August 31, 1952). El “otro” punto de vista (The “other” point of view). El Tiempo.
↑ Gómez, N. Critical commentary from the book Pintoras colombianas contemporáneas (Contemporary Colombian painters) (1959) by Walter Engel. In: Documents of 20th-century Latin American and Latino Art, International Center for The Arts of the Americas at the Museum of Fine Arts, Houston, USA.
↑ .Reproduction of the column in the book Marta Traba (1984) compiled by Emma Araújo de Vallejo. Bogotá: Museum of Modern Art
↑ Engel, W. (August 17, 1952). El IX Salón Anual (The 11th Annual Show). El Tiempo.
↑ Mendoza, E. (August 9, 1952). La pintura en el IX Salón (Painting in the 11th show). El Espectador.
↑ Vidales, idem.

Bibliography

Calderón, C. (1990). Salón Nacional de Artistas 50 años (50 years of the National Artists Show). Bogotá: Colombian Institute of Culture (Colcultura).

Cobo Borda, J. et al. (2000). Sofía Urrutia. Pinturas (Sofía Urrutia: Paintings). Bogotá: Seguros Bolívar.

Art collection of the Banco de la República

Visit the artwork St. Francis of Sofía Urrutia Holguín in Colección de arte
Visit the artwork Popayán Rooftops of Sofía Urrutia Holguín in Colección de arte
Visit the artwork Cuna Indians of Sofía Urrutia Holguín in Colección de arte
Visit the artwork Self-Portrait of Sofía Urrutia Holguín in Colección de arte
Visit the artwork of Sofía Urrutia Holguín in Colección de arte

Credits

1. Research and text: Oscar David Rodríguez, mediator of the museums and collections of the Banco de la República, for Banrepcultural

2. Text revision and editing: Inti Camila Romero Estrada and Diana Salas, Public and Educational Services department, Art and Other Collections Unit (UAOC).

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[1] Vidales, L. (August 31, 1952). El “otro” punto de vista (The “other” point of view). El Tiempo.

[2] Gómez, N. Critical commentary from the book Pintoras colombianas contemporáneas (Contemporary Colombian painters) (1959) by Walter Engel. In: Documents of 20th-century Latin American and Latino Art, International Center for The Arts of the Americas at the Museum of Fine Arts, Houston, USA.

[3] .Reproduction of the column in the book Marta Traba (1984) compiled by Emma Araújo de Vallejo. Bogotá: Museum of Modern Art

[4] Engel, W. (August 17, 1952). El IX Salón Anual (The 11th Annual Show). El Tiempo.

[5] Mendoza, E. (August 9, 1952). La pintura en el IX Salón (Painting in the 11th show). El Espectador.

[6] Vidales, idem.

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@@ Línea 25: / Línea 25: @@
 '''Sofía Urrutia Holguín''' was a Colombian-Bolivian painter born in La Paz in 1912 and an exponent of naive or primitivist art. Through an informal artistic education amid humanities courses and private classes with painters, she made a place for herself among the most distinguished artists of the 1940-1970 period, receiving positive recognition from critics such as Walter Engel and Marta Traba. Her paintings dealt with natural and religious themes as well as elements of Colombian culture.
-==Biografía==
+==Biography==
-Sofía Urrutia nació en una prestante familia de Popayán. Su padre, [[Francisco José Urrutia]] fue ministro del exterior y ejerció tareas diplomáticas con países como Bolivia, España, Suiza y Estado Unidos, lo que explica el nacimiento de la artista en La Paz.
-Su formación artística fue autodirigida, entre cursos de humanidades durante las estancias de su familia en Europa y luego en el contacto con artistas que estaban renovando la plástica colombiana. En los años cuarenta, Sofía tomó clases con el artista [[Guillermo Wiedemann]] en su taller ubicado en el barrio Teusaquillo de Bogotá, un gran amigo desde entonces.
-Aunque la ingenuidad de la obra de esta artista fue un atributo exaltado desde el principio en el circuito artístico, recientemente se ha discutido que “''ingenuo''” sea el apelativo más adecuado para la modalidad creativa de Sofía Urrutia y otros pintores de la segunda mitad del siglo XX en Colombia. El término “''primitivista''” es propuesto en la contemporaneidad para reconocer este lenguaje plástico, en diálogo con corrientes artísticas que se desarrollaron en otros contextos culturales e históricos desde comienzos de siglo.
-Fue una lectora incansable hasta sus últimos días y practicó una pintura genuina y sin pretensiones. Al final de sus días, los amigos iban a su casa para leerle, porque su visión había disminuido considerablemente y no podía ya leer ni pintar. Murió en Bogotá en 2002.
-===Trayectoria artística===
+Sofía Urrutia was born into a prominent family from the city of Popayán. Her father, Francisco José Urrutia, served as foreign minister and carried out diplomatic work with countries such Bolivia, Spain, Switzerland and the United States, which explains the artist’s birthplace of La Paz.
+Her artistic training was self-guided, through humanities courses during her family’s stays in Europe and later through contact with artists that were reinvigorating Colombian art. During the 1940s, Sofía took classes with the artist Guillermo Wiedemann at his workshop in the Teusaquillo neighborhood of Bogotá, and from that moment he would be a great friend.
+While the naivety of her work was a quality that was praised from the outset on the artistic circuit, recently there has been discussion around whether the word ‘naive’ is the most accurate description of the creative methods of Sofía Urrutia and other painters from the second half of the 20th century in Colombia. The term “primitivist” has been put forward in modern times to recognize this visual language, in dialogue with artistic trends that developed in other cultural and historical contexts since the beginning of the century.
+She was a tireless reader until her last days and painted in an authentic and unpretentious style. In her final years, her friends would visit her house to read to her, as her sight had diminished significantly and she was no longer able to read or paint. She passed away in Bogota in 2002.
-En la década de 1940, '''Sofía Urrutia''' inició un trabajo muy activo, atendiendo a las convocatorias para las exposiciones colectivas nacionales más importantes del momento. En octubre de 1948, la pintora fue una de los 26 participantes en la Exposición de Pintura Contemporánea en el Museo Nacional de Colombia, uno de los dos eventos que esta institución organizó entre 1946 y 1950, cuando no se convocó al Salón Anual de Artistas. Con esto, Urrutia se hizo un lugar en la Generación de los 50 y fue catalogada desde entonces como exponente del arte ingenuo<ref>Vidales, L. (31 de agosto de 1952). El “''otro''” punto de vista. El Tiempo</ref>
+===Artistic career===
-En 1959, el crítico austriaco Walter Engel le reconoce un lugar especial en un conjunto de pintoras colombianas por su trabajo destacado, junto a Judith Márquez, Lucy Tejada y Cecilia Porras<ref>Gómez, N. Comentario crítico del libro Pintoras colombianas contemporáneas (1959) de Walter Engel. En: Documents of 20th-century Latin American and Latino Art, International Center for The Arts of the Americas at the Museum of Fine Arts, Houston, Estados Unidos.</ref>. A inicios de los sesenta, Urrutia también cuenta con el aval de la crítica argentina [[Marta Traba]], quien en 1963 le dedica una de sus columnas en el periódico La Nueva Prensa y presenta su obra como “''un manantial que no cesa''”<ref>Reproducción de la columna en el libro Marta Traba (1984) compilado por Emma Araújo de Vallejo. Bogotá: Museo de Arte Moderno.</ref>
-===Características de su obra===
+In the 1940s, Sofía Urrutia started working very actively responding to the calls for the most important national group exhibitions at that time. In October 1948, she was one of the 26 participants of the Contemporary Painting Exhibition at the National Museum of Colombia, one of the two events that the institution organized between 1946 and 1950, in addition to the Annual Artists Show. In doing so, Urrutia earned a place among the “Generation of the 1950s,” and from then on was considered an exponent of naive art<ref>Vidales, L. (August 31, 1952). ''El “otro” punto de vista'' (The “other” point of view). ''El Tiempo''.</ref>
+In 1959, as a result of her outstanding work, the Austrian critic Walter Engel acknowledged her special place as part of a group of female Colombian painters, together with Judith Márquez, Lucy Tejada and Cecilia Porras<ref>Gómez, N. Critical commentary from the book ''Pintoras colombianas'' contemporáneas (Contemporary Colombian painters) (1959) by Walter Engel. In: Documents of 20th-century Latin American and Latino Art, International Center for The Arts of the Americas at the Museum of Fine Arts, Houston, USA.</ref>. In the early 1970s, Urrutia also had the support of the Argentinian critic Marta Traba, who dedicated one of her columns in the La Nueva Prensa newspaper to the artist in 1963 and described her work as “a spring that never runs dry”<ref>.Reproduction of the column in the book Marta Traba (1984) compiled by Emma Araújo de Vallejo. Bogotá: Museum of Modern Art</ref>.
-La crítica de arte a comienzos de los años cincuenta destacó “''la paz, claridad e ingenua y diáfana belleza''” de los cuadros de Sofía Urrutia<ref>Engel, W. (17 de agosto de 1952). El IX Salón Anual. El Tiempo.</ref>, y los describió como elementos extraídos de una “''juguetería milagrosa''”<ref>Mendoza, E. (9 de agosto de 1952). La pintura en el IX Salón. El Espectador.</ref>. Así se calificaba el límite sutil entre la representación infantil, con la cual se comparó el arte primitivista, y la opción decidida e intencionada de la artista por representar la realidad desde una técnica no profesionalizada. El lenguaje de los comentaristas la incluía en las tendencias vanguardistas de mediados de siglo, señalando su acierto en la aplicación de “''manchas de color y toques sorpresivos de blanco''” en pinturas como Playa en el río Cauca<ref>Vidales, ídem.</ref>.
+===Features of her work===
-Los paisajes de Urrutia muestran espacios públicos de ciudades como Cartagena, Bogotá y Popayán. Otros cuadros se convierten en retratos etnográficos de comunidades indígenas y mestizas, como Playa en el río Cauca, Indios Cuna y Semana Santa chiquita. El tema central de sus bodegones son las flores, entre las que se cuentan hortensias, rosas y delfinios. Los cuadros dedicados a temas religiosos representan a figuras como San Francisco de Asis, escenarios del antiguo testamento como El paraíso y La torre de Babel, y relatos como el de La creación del mundo, El arca de Noé, La destrucción de Sodoma, José vendido por sus hermanos y Moisés salvado por las aguas. Para la artista fueron de referencia obligada en la construcción de su imaginería, la Sagrada Biblia y la novela Cien años de soledad de [[Gabriel García Márquez]].
-===Obras destacadas===
+Art criticism at the beginning of the 1950s emphasized “the peace, clarity, and naive and crystal-clear beauty” of Sofía Urrutia’s paintings<ref>Engel, W. (August 17, 1952). El IX Salón Anual (The 11th Annual Show). ''El Tiempo''.</ref>, characterizing them as elements taken from a “wondrous toy shop”<ref>Mendoza, E. (August 9, 1952). La pintura en el IX Salón (Painting in the 11th show). ''El Espectador''.</ref>, thus drawing the subtle line between childlike representation — to which primitivist art was compared — and the resolute, purposeful decision by the artist to portray reality through a non-professional technique. The writings of the critics included her in the avant-garde trends of the mid-20th century, pointing to her success in applying “colorful patches and striking touches of white” in paintings such as Beach on the Cauca River (Playa en el río Cauca)<ref>Vidales, ''idem''.</ref>.
+Urrutia’s scenes depict public spaces in cities such as Cartagena, Bogotá and Popayán. Other paintings are transformed into ethnographic portraits of indigenous and mestizo communities, such as Beach on the Cauca River, Cuna Indians (Indios Cuna) and Little Holy Week (Semana Santa Chiquita). Flowers are the central theme of her still lifes, which feature hydrangeas, roses and delphiniums. Her paintings devoted to religious themes portray figures such as St. Francis of Assisi, scenes from the Old Testament like Eden and The Tower of Babel, and stories such as The Creation of the World, Noah’s Ark, The Destruction of Sodom, Joseph Sold by his Brothers and Moses Saved from the Waters. The Bible and the novel One Hundred Years of Solitude by Gabriel García Márquez were essential references in the construction of her imagery.
-*'''{{Fecha|1952|link=}}''': Playa en el río Cauca y Anunciación, óleo sobre tela. Mención en el IX Salón Anual de Artistas Colombianos.
+===Featured works===
-*'''{{Fecha|1967|link=}}''': La niña y la muñeca, colección Museo de Arte Contemporáneo de Bogotá.
+*'''{{Fecha|1952|link=}}''': Beach on the Cauca River and Annunciation (''Anunciación''), oil on canvas. Honorable mention at the 11th Annual Show of Colombian Artists.
+*'''{{Fecha|1967|link=}}''': The Girl and the Doll (La niña y la muñeca), Bogota Museum of Modern Art collection.
 ===Obras de Sofía Urrutia en las Colecciones del Banco de la República===
 {|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"
-|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Sofía Urrutia Holguín en la Colección de Arte del Banco de la República'''</big>
+|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Works by Liliana Porter in the collections of the Banco de la República'''</big>
-! width="300 px" style="background:Lavender; color:Black"|Título
+! width="300 px" style="background:Lavender; color:Black"|Title
-! width="40 px" style="background:Lavender; color:Black"|Año
+! width="40 px" style="background:Lavender; color:Black"|Year
-! width="80 px" style="background:Lavender; color:Black"|Ubicación
+! width="80 px" style="background:Lavender; color:Black"|Location
-! width="80 px" style="background:Lavender; color:Black"|Denominación
+! width="80 px" style="background:Lavender; color:Black"|Technique
-! width="80 px" style="background:Lavender; color:Black"|Registro
+! width="80 px" style="background:Lavender; color:Black"|Registration number
 |-
-||San Francisco
+||St. Francis (San Francisco)
 ||1969
-||Reserva
+||Reserve
-||Pintura
+||Painting
 ||AP0303
 |-
-||Tejados de Popayán
+||Popayán Rooftops (Tejados de Popayán)
 ||1983
-||Reserva
+||Reserve
-||Grabado
+||Print
 ||AP3966
 |-
-||Indios Cuna
+||Cuna Indians (Indios Cuna)
-||No registra
+||Not recorded
-||Reserva
+||Reserve
-||Pintura
+||Painting
 ||AP3846
 |-
-||Autorretrato
+||Self-Portrait (Autorretrato)
-||No registra
+||Not recorded
-||Reserva
+||Reserve
-||Pintura
+||Painting
 ||AP3845
 |-
-||Tejados de Cartagena
+||Cartagena Rooftops (Tejados de Cartagena)
-||1964 Ca.
+||ca. 1964
-||Reserva
+||Reserve
-||Pintura
+||Painting
 ||AP0240
 |-
 |}
-==Cronología==
+==Timeline==
-*'''{{Fecha|1912|link=}}''': nació en La Paz, Bolivia.
+*'''{{Fecha|1912|link=}}''':  Born in La Paz, Bolivia.
-*'''{{Fecha|1948|link=}}''': participó en la Exposición de Pintura Contemporánea en el Museo Nacional de Colombia.
+*'''{{Fecha|1948|link=}}''': Participates in the Contemporary Painting Exhibition at the National Museum of Colombia.
-*'''{{Fecha|1950|link=}}''': realizó su primera exposición individual en la sala Gregorio Vásquez de la Biblioteca Nacional de Colombia.
+*'''{{Fecha|1950|link=}}''': Holds her first individual exhibition in the Gregorio Vásquez hall of the National Library of Colombia.
-*'''{{Fecha|1962|link=}}''': concursó en el XIV Salón Nacional de Artistas.
+*'''{{Fecha|1962|link=}}''': Takes part in the 14th National Artists Show.
-*'''{{Fecha|2002|link=}}''': la Galería Diners en Bogotá le dedicó una exposición retrospectiva. Murió en Bogotá.
+*'''{{Fecha|2002|link=}}''': Diners Gallery dedicates a retrospective exhibition to her in Bogotá. She passes away in the same city.
-*'''{{Fecha|2016|link=}}''': el Banco de la República presentó algunas de sus obras en la Exposición Aparente ingenuidad, en la que se recordó a los pintores primitivistas colombianos.
+*'''{{Fecha|2016|link=}}''': The Banco de la República presents some of her works in the exhibition Apparent Naivety (Aparente ingenuidad), which looked back at Colombian primitivist painters.
-==Véase también==
+==See also==
-*Exposición Aparente ingenuidad. Pintores primitivistas en la colección de arte del Banco de la República [https://www.banrepcultural.org/exposiciones/aparente-ingenuidad]
+*Apparent naivety exhibition. Primitivist painters in the art collection of the Banco de la República[https://www.banrepcultural.org/exposiciones/aparente-ingenuidad]
 *Guillermo Wiedemann [https://proyectos.banrepcultural.org/hernan-diaz/es/el-mundo-como-una-pintura-en-rollo/guillermo-wiedemann-en-su-estudio-hoja-de-contactos]
-==Referencias==
+==References==
 {{listaref}}
-==Bibliografía==
+==Bibliography==
-*Calderón, C. (1990). Salón Nacional de Artistas 50 años. Bogotá: Instituto Colombiano de Cultura - Colcultura.
-*Cobo Borda, J. y otros (2000). Sofía Urrutia. Pinturas. Bogotá: Seguros Bolívar.
+*Calderón, C. (1990). ''Salón Nacional de Artistas 50 años'' (50 years of the National Artists Show). Bogotá: Colombian Institute of Culture (Colcultura).
+*Cobo Borda, J. et al.  (2000). ''Sofía Urrutia. Pinturas'' (''Sofía Urrutia: Paintings''). Bogotá: Seguros Bolívar.
+==Art collection of the Banco de la República==
+*Visit the artwork St. Francis of Sofía Urrutia Holguín in [https://banrepcultural.org/coleccion-de-arte/obra/san-francisco-ap0303 Colección de arte]
+*Visit the artwork Popayán Rooftops of Sofía Urrutia Holguín in [https://banrepcultural.org/coleccion-de-arte/obra/tejados-de-popayan-ap3966 Colección de arte]
+*Visit the artwork Cuna Indians of Sofía Urrutia Holguín in [https://banrepcultural.org/coleccion-de-arte/obra/indios-cuna-ap3846 Colección de arte]
+*Visit the artwork Self-Portrait of Sofía Urrutia Holguín in [https://banrepcultural.org/coleccion-de-arte/obra/autorretrato-ap3845 Colección de arte]
+*Visit the artwork of Sofía Urrutia Holguín in [https://banrepcultural.org/coleccion-de-arte Colección de arte]
-==Colección de arte del Banco de la República==
+==Credits==
-*Visite la obra de arte San Francisco de Sofía Urrutia Holguín en [https://banrepcultural.org/coleccion-de-arte/obra/san-francisco-ap0303 Colección de arte]
-*Visite la obra de arte Tejados de Popayán de Sofía Urrutia Holguín en [https://banrepcultural.org/coleccion-de-arte/obra/tejados-de-popayan-ap3966 Colección de arte]
-*Visite la obra de arte Indios Cuna de Sofía Urrutia Holguín en [https://banrepcultural.org/coleccion-de-arte/obra/indios-cuna-ap3846 Colección de arte]
-*Visite la obra de arte Autorretrato de Sofía Urrutia Holguín en [https://banrepcultural.org/coleccion-de-arte/obra/autorretrato-ap3845 Colección de arte]
-*Visite la obra de arte de Sofía Urrutia Holguín en [https://banrepcultural.org/coleccion-de-arte Colección de arte]
-==Créditos==
+. Research and text: Oscar David Rodríguez, mediator of the museums and collections of the Banco de la República, for Banrepcultural
-. Investigación y texto: Oscar David Rodríguez, mediador de los Museos y Colecciones del Banco de la República, para Banrepcultural
-. Revisión y edición de textos Inti Camila Romero Estrada y Diana Salas, Sección de Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC).
+. Text revision and editing:  Inti Camila Romero Estrada and Diana Salas, Public and Educational Services department, Art and Other Collections Unit (UAOC).
 [[Categoría:Pintor]] [[Categoría:Artista]][[Categoría:Mujer]][[Categoría:Mujeres Notables]] [[Categoría:Colección de arte del Banco de la República]]
 {{RelacionesBanrepcultural}}

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