Abstract: The subject of the study is the reaction of Colombian artists to the events that took place in the country on April 9, 1948 and were one of the most important milestones in the modern history of Colombia and the history of art of this country. On that day, peaceful Bogota was involved in an unprecedented civil uprising in Colombian history, the consequences of which affected all spheres of life of Colombian society. For art, this uprising also became a turning point in its development. Changes have taken place in all areas of fine art: there has been a pronounced social problem, there has been a break with academism and, of course, since the events of Bogotaso, the critical position of artists in relation to the phenomena of socio-political life in Colombia has received its vivid expression. This paper analyzes the paintings of key artists of the history of Colombian art: Enrique Grau and Alejandro Obregona. The works in question reflect the events of the fateful day for the country on April 9, 1948, interpreting the facts of this tragedy in their own way, and affirm the importance of the artist's socially critical position in society. Methodologically, this is a work with a comprehensive approach, including cultural-historical, iconographic, artistic-stylistic analysis of works. The novelty of the research lies in the study of the reaction of artists to political and social repression in Colombia, as well as in the study of the dizzying political and social changes that occurred after the events of Bogotaso in 1948 and influenced the development of the "critical art" of Colombia up to the present day.

Abstract: The subject of this research is the theme of violence in Colombian art as a reflection of political and social conflicts in the country. Political, economic and social problems in the history of Colombia of the XX century are closely intertwined, resulting in a complicated situation of coups d’état and terror, which affects different types of art in the country and representatives of the cultural elite. The conflict that stretches since the early XX century is reflected in the Colombian architecture and painting. It is depicted as rather conservatism and alienation from the constituency in architecture, and from the critical perspective in painting. The projects of the Palace of Justice are taken as an example of the changes in architecture. Trends in the visual arts are revealed in the works of Beatriz Gonzalez and Doris Salcedo. One of the central events in the political and social history of Colombia of the XX century – 1985 Palace of Justice siege – has found a special place in their art. The novelty of this research lies in using the comparative method of analysis. This is the first Russian-language research to draw the parallel between the architectural changes in the projects of the Palace of Justice in Bogota and the impact of the events of November 6 and 7, 1985 upon Colombian painting based on the works of the two remarkable Colombian artists. It is established that different types of art show different response to the political and social disturbances that take place in the country. This is substantiated by differentiation of the political-social order in various types of art.