Kingman first studied under Victor Mideros at the Bellas Artes School, inQuito. Further studies took him to Venezuela, Peru, Bolivia and finally to the San Francisco School of Fine Arts, California (1945-1946). Americans first becameacquainted with Kingman's art in 1939, when he assisted Camilo Egas with the paintings and decorations for the Ecuadorian Pavilion at the New York World's Fair.
For aperiod of twenty years, Eduardo Kingman held the post of principal professor at Quito's, Bellas Artes School as well as Director of the Colonial Art Museum ofQuito. In 1940, Kingman founded the Caspicara Gallery in Quito. At this time and later his original prints and paintings were exhibited internationally in such cities asParis, Washington, San Francisco, Mexico City, Caracas and Bogotá. Near the end of his career, Kingman was honored with a one man exhibition of his art at theUnited Nations, New York.
A unifying theme of Kingman's paintings, lithography’s and woodcuts is the plight of Ecuador's indigenous peoples. Poverty and hardshipwas often brilliantly delineated in the expressiveness of his subject's hands and faces. This element is clearly seen in this great, original lithograph. Kingman wasalso active as a writer and social activist. His open defense of and sympathy for his country's downtrodden peoples was a vital and inseparable force in his art.