After independence, and in the first half of the twentieth century, attempts to imagine and consolidate national identity were prominent in artistic output in Colombia. The late nineteenth century saw a predominance of landscape painting, the calm and serenity of which both evoked a rural ideal for the urban consumers of art in cities undergoing processes of modernization, and smoothed over the violent political, economic and social upheavals which actually characterized life in the countryside (Londoño Vélez, Arte colombiano, 199–201). In the early part of the twentieth century, the important Bogotá-based Bachué movement favoured a return to the images of pre-Columbian myth. Members included Rómulo Rozo, Ramón Barba (1894–1964), Josefina Albarracín (1910–97) and Hena Rodríguez (1904–97). Of this period – the late 1920s and early 1930s – Álvaro Medina writes that: