Eiger, Casimiro. "["Después de varias semanas..."]," 1949. Typed manuscript with handwritten corrections. Luis Ángel Arango Library, Bogotá, Colombia.
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In this text, Polish art critic Casimiro Eiger praises Luis Alberto Acuña’s art. He specifically mentions the artist’s use of color, the monumentality of his painting, the severity of his sculptural volumes, and his controversial approach to technique. Eiger, a Polish-born critic who lived in Colombia, considers Acuña on a par with major Colombian artists like Pedro Nel Gómez and Ignacio Gómez Jaramillo, mostly due to Acuña’s innovative work and adherence to “Americanist” and “social” painting. Eiger places emphasis on how Acuña built his own vision of “the national,” though he dodges the difficult task of defining what exactly that means.
Written in 1949, this text on the work of Colombian artist Luis Alberto Acuña (1904–1984) not only sheds light on aspects of his production, but also demonstrates how art critic Casimiro Eiger (1909–1987) saw the local art scene. Regarding Acuña’s work, Eiger underscores what distinguishes him from other local artists, which makes it difficult to associate him with a specific movement. This heightens the resoundingly controversial nature of the work by this painter and sculptor.
An art critic of Jewish origin, Casimiro Eiger came to Bogotá in 1946 due to the war in Europe. His criticism of Colombian art was aired on Colombian public radio [Radiodifusora Nacional de Colombia], as opposed to the print media preferred by art critics. Due to the lack of sound recordings, Eiger’s manuscripts are the only way to trace his contribution to Colombian art criticism. In addition to his work as a critic, Eiger played a major role in the opening of the first art galleries in Colombia. For a number of years, he was the director of Galería El Callejón. He went on to open the Galería de Arte Moderno.