An Argentine painting refers to all the pictorial production done in the country of Argentina throughout the centuries.
Pre-Columbian painting
Cueva de las Manos (Cave of the Hands), in Patagonia, Argentina, is an example of one such work. It has been declared a World Heritage Site by the UNESCO.[1] Other important prehistoric artwork is located in the north of Córdoba. A collection of more than 35,000 pictographs (one of the densest collections of such images in the world) is found in the hills of Colorado, Veladero, Intihuasi and Unmount.
More recently, the pre-Hispanic cultures that inhabited the present territory of Argentina left a number of pictorial records. In the Andean northeast, the Ceramic Period cultures, from the Condorhuasi culture (400 BCE–700 CE) to the La Aguada (650–950 CE) and Santa María (1200–1470 CE), show a comprehensive development in the painting of ceramics and stone.
During the Spanish colonial era, painting developed primarily as a religious art in churches, designed to Christianize indigenous peoples. Colonial-era religious painting was often done by forced indigenous artists and African slaves under the power of the religious orders.
Colonial painting is also seen in the books and manuscripts made by colonists, priests, scientists, and visitors. Notable among these are the drawings and watercolors of the German Jesuit Florian Paucke (1719–1789).
In what is now northwest Argentina, especially in Jujuy, the Cuzco School developed in the churches, with its images of ángeles arcabuceros (angels armed with Spanish colonial muskets) and triangular virgins (a syncretism of the cult of the Virgin Mary and the Pachamama).
Taking honey down (1749–1767) Florián Paucke
Military Angel (18th Century) Mateo Pisarro
Nineteenth century
In the first years of the 19th century, many foreign artists visited and resided in Argentina, leaving their works. Among them were English mariner Emeric Essex Vidal (1791–1861), a watercolorist who left important graphic evidence of Argentine history; French engineer Carlos E. Pellegrini (1800–1875), who was devoted to painting out of necessity and who would be the father of president Carlos Pellegrini; the mariner Adolfo D'Hastrel (1805–1875), who published his drawings and watercolors in the book Colección de vistas y costumbres del Río de la Plata (1875); and lithographer César Hipólito Bacle (1790–1838).
In the 1830s, Carlos Morel (1813–1894), considered the first strictly Argentine painter, came to prominence. Soon after followed Prilidiano Pueyrredón (1823–1870) and Cándido López (1840–1902), who painted the life of gauchos and the wars of premodern Argentina.
In the middle of the 19th century the first Argentine artistic institutions began to be organized. These included La Sociedad Estímulo de Bellas Artes and El Museo Nacional de Bellas Artes, whose first director was the painter Eduardo Schiaffino. The great wave of European immigration (1870–1930) established a strong relationship to European painting, mainly through Italian painters or children of Italians. Eduardo Sívori (1847–1918) introduced naturalism with works such as El despertar de la criada, followed by painters like Reinaldo Giudici (1853–1927) and Ernesto de la Cárcova (1866–1927), Ángel Della Valle (1852–1903) developed a painting movement depicting the customs of the countryside, with works like La vuelta del malón.
Battle of the cavalry in the time of Rosas (1830) Carlos Morel
Disembarkation of allied troops (ca. 1860) Cándido López
At a 1902 exhibition, Martín Malharro (1865–1911) introduced impressionism to Argentina. He was followed by painters including Faustino Brughetti (1877–1956), Walter de Navazio (1887–1919) and Ramón Silva (1890–1919). Soon after, Fernando Fader (1882–1935) and the artists of the Nexus group began to push for the development of artistic currents that, without ignoring or disavowing the painting fashionable in Paris, would be capable of expressing independent views of painting.
First avant-garde movement
The first major artistic movements in Argentina coincided with the first signs of political liberty in the country, such as the 1913 sanction of the secret ballot and universal male suffrage, the first president to be popularly elected (1916), and the cultural revolution that involved the University Reform of 1918. In this context, in which there continued to be influence from the Paris School (Modigliani, Chagall, Soutine, Klee), three main groups arose.
The Boedo group took social issues and struggles as its central themes. El Grupo Boedo, with painters such as José Arato, Adolfo Bellocq, Guillermo Hebécquer and Abraham Vigo. They were centered on the socialist Claridad publishing house, which had its workshops on calle Boedo, in the working-class suburbs of the city. Boedo group painters included José Arato, Adolfo Bellocq, Guillermo Hebécquer, and Abraham Vigo.
The La Boca group was strongly influenced by Italian immigration and developed a distinctive style centered on labor and immigrant neighborhoods. These artists included Victor Cúnsolo, Eugenio Daneri, Fortunato Lacámera, Alfredo Lazzari, Benito Quinquela Martín, and Miguel Carlos Victorica.
Second avant-garde movement
In the second avant-garde movement, or the wave of innovations in Argentine painting developed in the 1930s, many painters of the first avant-garde movement evolved and changed their artistic position. Among the leading artistic groups were:
The Sensitive painters, characterized by the use of color as an emotional tool. Raúl Soldi was the most prominent of this group; others included Miguel Carlos Victorica, Raúl Russo, Eugenio Daneri, and Miguel Diómede.
The Naive painters, whose paintings forwent human or social conflicts, such as Luis Centurión and Norah Borges.
The neo-realists, who in some ways continued the line of the Boedo group, but with strict pictorial and avant-garde elements. This group includes Carlos Alonso, Antonio Berni, Juan Carlos Castagnino, Demetrio Urruchúa, Enrique Policastro. Florencio Molina Campos and Medardo Pantoja can also be included in the group. Campos for his naive painting of social elements via caricature and the use of "significant" color; and Pantoja whose painting was inspired by the indigenous Andean and Latin American cultures.
Escuela de Muralistas Tucumanos School Tucumano muralists
From 1946 there is a shift in the academic policy of the Schools of Fine Arts of Argentina, to the sound of Argentine teachers political apartments expelled from other schools of fine arts as Mendoza and Buenos Aires. Since 1946 was a turning point in the academic policy of the schools of Fine Arts of Argentina, the apartments are of the Argentine political masters Expelled from other schools of fine arts as Mendoza and Buenos Aires. In 1948 he organized the painting workshop at the Higher Institute of Arts of the National University of Tucumán under the leadership of Enes Lino Spilimbergo and Guido Parpagnoli address, where he formed a plastic pole Argentina of great interest with leading artists: Tucumanos Muralistas School, inspired by the teachings of Lothe and Ghyka Matyla harmonic principles. In 1948 it Organized the paint shop of the Superior Institute of Arts of the National University of Tucumán led by Enes Lino Spilimbergo and direction of Guido Parpagnoli, que Formed plastic one pole of the Argentina of great interest to the Most outstanding artists: School Tucumano muralists, inspired by the Teachings and principles of Lothar Matyla Ghyka harmonics. The project of the Higher Institute of Arts in different disciplines joined Lorenzo Dominguez for the section of sculpture, printmaking and Víctor Rebuffo in Zurro Pedro de la Fuente in matalistería. Ramón Gómez Cornet and cartoonists Lajos Szalay and Aurelio Salas also participated in this project with Carlos Alonso, Juan Carlos de la Motta, Eduardo Audivert, Leonor Vassena, Alfredo Portillos, Medardo Pantoja, Luis Lobo de la Vega, Mercedes Romero, Nieto Palacios and others. The project of the Higher Institute of Arts joined in various disciplines: Lorenzo Dominguez for the section of sculpture, Víctor Rebuffo recorded in Zurro and Pedro de la Fuente in matalistería. Ramón Gómez Cornet and cartoonists Lajos Szalay and Aurelio Salas Also participated In this endeavor Along with Carlos Alonso, Juan Carlos de la Motta, Eduardo Audivert, Leonor Vassena, Alfredo Portillo, Medardo Pantoja, Luis Lobo de la Vega, Mercedes Romero, Nieto Palacios et al.
"Modern" painters
Argentina's "modern painters" are a difficult group to define. They have developed a constructivist rather than figurative style, though it is not quite abstract. Artists of this group include Julio Barragán, Luis Seoane, Carlos Torrallardona, Luis Aquino, Atilio Malinverno, and Alfredo Gramajo Gutiérrez.
Abstract art
Juan Del Prete (later the creator of Futucubismo, a mixture of Cubism and Futurism) came from the abstract art movement in Argentina, which developed in the 1940s from, of course, concrete art. Tomás Maldonado is one of the most well known abstract artists.
Madí Movement
The Madí Movement, began in Argentina in 1946. One source claims Madí was founded in protest to the government control of the arts under Juan Perón.[2] while a different source says that Madí is not necessarily a response to that oppression.[3] The movement spread to Europe and later the United States. It is considered the only artistic movement founded in Buenos Aires to have a significant impact internationally.[citation needed] It was founded by Gyula Kosice and Carmelo Arden Quin, and included artists such as Rhod Rothfuss, Martín Blaszko, Waldo Longo, and Diyi Laañ.
Among the latest trends in Argentine painting are new figurativism, pop art, new surrealism, hyperrealism, systems art, new abstract art, kinetic art, and ephemeral art.
New Figurativism, formed in the 1960s,
La Nueva Figuración, reunió en la década del 60, varios artistas que adoptaron el nombre de "Otra Figuración", que recuperan la figura humana, pero con el fin de darle formas libres, muchas veces monstruosas y cadavéricas. The New Figuration, met in the decade of 60, several artists who adopted the name "Another Figuration," recovering the human figure, but in order to give free-form, often monstrous and corpses. Los artistas más destacados de esta corriente son Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. The most prominent artists of this current is Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. Dávila, Juan Carlos Distéfano . Davila, Juan Carlos Distefano.
The New Figuration brought together in the 60s, several artists who adopted the name "Other Figuration", which recover the human figure, but in order to give free, often monstrous and cadaverous forms. The New Figuration, which met in the 60s, several artists who adopted the name "Another Figuration," recovering the human figure, but in order to give free-form, often monstrous and corpses. The most outstanding artists of this current are Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. The most prominent artists of this current are Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. Dávila, Juan Carlos Distéfano. Davila, Juan Carlos Distefano.
Argentine neosurrealism includes painters such as Guillermo Roux and Roberto Aizenberg. In their art they express human anguish in times of great social and political unrest.
The Spartacus Group (Grupo Espartaco) was founded by Ricardo Carpani, Juan Manuel Sánchez, and Mario Mollari, among others. It linked painting to active engagement with social struggles, unions in particular. Their esthetic is integrated into the traditions of South America.
A partir de la noción de "sistema", derivada de la ciencia cibernética, desde comienzos de la década del 70, varios artistas y especialistas en Comunicación, desarrollaron una corriente denominada Arte de Sistema, expresándose de maneras diversas bajo denominaciones como "arte conceptual", "arte ecológico de la tierra", "arte pobre", "arte de proposiciones" y "arte cibernético". Since the notion of "system", derived from the science cybernetics, from the early 70s, several artists and specialists in communication, develop a stream called the System of Art, expressed in different ways under names such as "conceptual art" "Eco Art of the Earth", "poor art", "Art of propositions" and "cyber-art." Algunos de los artistas argentinos de esta corriente son Luis Fernando Benedit, Nicolás Dermisache y Lea Lublin . Some of the artists are aware of this Argentinian Luis Fernando Benedit, Nicholas Dermisache and Lea Lublin.
From the notion of "system", derived from cybernetic science, since the beginning of the 70s, several artists and specialists in Communication, developed a current called System Art, expressing themselves in different ways under denominations such as "conceptual art" , "ecological art of the earth", "poor art", "art of propositions" and "cybernetic art". Since the notion of "system", derived from the science of cybernetics, from the early 70s, several artists and specialists in communication, develop a stream called the System of Art, expressed in different ways under names such as "conceptual art" "Eco Art of the Earth "," poor art "," Art of propositions "and" cyber-art. " Some of the Argentine artists of this current are Luis Fernando Benedit, Nicolás Dermisache and Lea Lublin. Some of the artists are aware of this Argentinian Luis Fernando Benedit, Nicholas Dermisache and Lea Lublin.
Derived from the Happening movement, Marta Minujín has developed a type of art called "ephemeral art."
The art of León Ferrari has stood out in recent times. Ferrari received the Golden Lion prize at the 2007 Venice Biennial and is considered among the few most important living painters.
Related Research Articles
The culture of Argentina is as varied as the country geography and is composed of a mix of ethnic groups. Modern Argentine culture has been influenced largely by the Spanish colonial period and the 19th/20th century European immigration, and also by Amerindian culture, particularly in the fields of music and art. Buenos Aires, its cultural capital, is largely characterized by both the prevalence of people of Southern European descent, and of European styles in architecture. Museums, cinemas, and galleries are abundant in all of the large urban centers, as well as traditional establishments such as literary bars, or bars offering live music of a variety of music genres.
Peruvian art has its origin in the Andean civilizations. These civilizations rose in the territory of modern Peru before the arrival of the Spanish.
Jorge de la Vega was an Argentine painter, graphic artist, draftsman, singer, and songwriter.
Latin American art is the combined artistic expression of South America, Central America, the Caribbean, and Mexico, as well as Latin Americans living in other regions.
Lino Enea Spilimbergo was an Argentine artist and engraver considered to be one of the country's most important painters.
Luis Felipe Noé is an Argentine artist, writer, intellectual and teacher. He is known in his home country as Yuyo. In 1961 he formed Otra Figuración with three other Argentine artists. Their eponymous exhibition and subsequent work greatly influenced the Neofiguration movement. After the group disbanded, Noé relocated to New York City where he painted and showed assemblages that stretched the boundaries of the canvas.
Romulo Macció was an Argentine painter who was associated with the avant-garde art movement named Nueva Figuracion, which favored a new form of figurative art. Apart from Nueva Figuracion he participated in another group called Phases. Helping pioneer the Nueva Figuración movement in the 1960s, these artists used figurative art forms to break taboos that constrained artists and their art-making, addressing important issues in Argentina and Latin America. After branching off from the group, Nueva Figuracion, Maccio would continue to develop his unique sense of art-making with an aesthetic of rebellion that would revolve mainly around social problems. He won the prestigious Konex Award from Argentina in 1982, 1992 and 2002.
Antonio Hugo Seguí was an Argentine cartoonist, painter, engraver, book illustrator, and sculptor, who lived and worked in Paris. Seguí's work has been collected and exhibited worldwide in and by art institutions such as MoMA, Buenos Aires Museum of Modern Art, and Centre Georges Pompidou, among others.
The Torcuato di Tella Institute is a non-profit foundation organized for the promotion of Argentine culture.
The Eduardo Sívori Museum is a municipal art museum in Buenos Aires, Argentina.
Jorge Aníbal Romero Brest was an influential art critic in Argentina, who helped popularize avant-garde art in his country.
The Museo de Arte Contemporáneo, formerly known as Museo Municipal de Arte Contemporáneo, is a municipally-owned museum in Madrid, Spain, located in the historic Conde Duque barracks. The museum was inaugurated in November 2001.
Generación de la Ruptura is the name given by art critic Teresa del Conde to the generation of Mexican artists against the established Mexican School of Painting, more commonly called Mexican muralism post World War II. It began with the criticisms of José Luis Cuevas in the early 1950s, followed by others who thought the established art had become dogmatic, formulaic and nationalistic and the artists too deferential to the government. This new generation of artists was not bound by a particular artistic style but was more interested in personal rather than social issues and influenced by a number of international trends in art such as Abstract expressionism. Early reaction to them was strong and negative but by the end of the 1950s, they had succeeded in having their art shown in the major venues of Mexico. The Generación de la Ruptura had influence on other arts in Mexico, such as literature but it did not end the production of murals in Mexico with social and nationalist purposes.
Alexander Spiers Witcomb was a British photographer whose work is considered part of the historical heritage of Argentina, where he established the first photography studio.
Andrés Waissman is a visual artist born in Buenos Aires, Argentina, in 1955. A relevant figure of Argentinian and Latin-American contemporary art, he is known for paintings such as Multitudes, Black & White, and his most recent work, Virutas. He lives and works in Buenos Aires.
Juan Nicolás Melé was an Argentine sculptor, painter, and art critic. Melé was a member of the Asociación Arte Concreto-Invención as well as co-founder of the Grupo Arte Nuevo.
Carlos María "Rhod" Rothfuss was a Uruguayan-Argentine artist who specialized in painting and sculpture. He was considered a key theoretician for the development of the concrete art movement in Argentina in the 1940s and was a founding member of the international Latin American abstract art movement, Grupo Madí.
Elbio Raúl Lozza was an Argentinian painter, draughtsman, designer, journalist, and theorist who was part of the concrete art movement. He was part of the Asociación Arte Concreto-Invención. He was the founder of the Perceptivist group. He was granted the Platinum Konex Award in Visual Arts from Argentina in 1992.
Nueva Figuración was an artistic movement in Latin America, specifically Argentina, Mexico, and Venezuela, that embraced a new form of figurative art in response to both abstraction and traditional forms of representation. Artists advocated a return to the human figure and everyday reality. They also rejected the aestheticized forms of traditional art, employing informal techniques, expressionism, and collage.
↑ "LOGIC, INTUITION POWER MADI ART" Albuquerque Journal (New Mexico, USA). 1996-09-15. p. D3. Retrieved from Newsbank's "America's Newspapers" through the Dallas Public LibraryArchived 2011-07-25 at the Wayback Machine on 2010-03-06.
↑ Stewart, Jennifer. "Lively, playful geometric works of art for fun" St. Petersburg Times (Florida, USA). 2006-07-16. Retrieved from Newsbank's "America's Newspapers" through the Dallas Public LibraryArchived 2011-07-25 at the Wayback Machine on 2010-03-06.
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