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This printed, folded sheet of paper provides a chronological history of the CGM (Club de Grabado de Montevideo) that spans its first thirteen years of operation, from 1953 to 1966. It includes a report on the Club’s sources of inspiration in the region, its goal of producing and circulating prints, its fee system, delivery of prints to the members, and the organization of exhibitions of works by CGM artists by other Latin American printmakers. The information is based on activities in the following years: 1953, 1956, 1961, 1962, 1964, 1965, and 1966, and includes woodcut illustrations from each of the landmark periods chosen.    


The chronological history of the CGM’s first thirteen years of activities consists of a series of reports from the members of the Club de Grabado de Montevideo (1953–66) which thus provides a self-assessment of its main events and developments. During the first three years, the report acknowledges a source of inspiration in Brazil (Clube de Gravura de Pôrto Alegre y de Bagé) [on that subject, see in the ICAA digital archive by Miguel Salim “Clube de Gravura de Pôrto Alegre” (doc. no. 1110335)] and the CGM’s association with graduates of the ENBA (Escuela Nacional de Bellas Artes). The report notes the Club’s concern about its premises (it mentions the demolition of the old building where the Club had its headquarters in downtown Montevideo, and its temporary home in the Pocitos neighborhood in the same city). The review of the first thirteen years showcases the CGM’s progress on an institutional level and its growing presence in the Uruguayan artistic world: members took part in street fairs in Montevideo, in all the Ferias de Libros y Grabados that are held every year at the Explanada Municipal in Montevideo and in the rest of the country since 1959, among other events. Other initiatives demonstrate the CGM’s outgoing approach, such as its members’ involvement with teaching extension programs at the Universidad de la República, the organization of exhibitions, and the founding of the Escuela de Grabado at the CGM (1965), among other examples.

The document also mentions the Club’s international involvements, such as the cultural exchange agreement signed with the German Democratic Republic (DDR) in 1965. Though this cultural association was mainly focused on promoting the art of printmaking (a medium that provided greater access to the general public than other art forms) and expressing its political views in its prints, everything the group did reflected an enthusiastic environment that was receptive to and participated in the so-called “independent culture” that had been developing in Uruguay since the 1920s and reached its peak in the 1960s. The chronological history of the CGM in the flier is illustrated with woodcut prints.

[As complementary reading, see in the archive the following articles published by the Club de Grabado de Montevideo: “Concurso de grabado para edición” (doc. no. 863481); “El arte correo en el Uruguay” (doc. no. 1191850); “Boletín N° 7 Club de Grabado de Montevideo” (doc. no. 1182833); “Club de Grabado compra su casa” (doc. no. 1192649); “Club de Grabado de Montevideo 22 Aniversario 1953 - Agosto 1975” (doc. no. 1183514); “Club de Grabado de Montevideo a la población de Montevideo” (doc. no. 1183124); “Cuando el Tercer Mundo se mira a sí mismo. II Bienal de La Habana” (doc. no. 1184459); “De los grabados de ayer a las ediciones actuales” (doc. no. 1191787); “Definiciones / Uno” (doc. no. 1189065); “Entrevista a Luis Mazzey” (doc. no. 1186991); “Entrevista a Óscar Ferrando” (doc. no. 1186747); “Entrevista a Óscar Ferrando [segunda parte]” (doc. no. 1186802); “Fundamentos a propósito de su 22 aniversario” (doc. no. 1182640); “Mini Grabado Internacional de Cadaqués. España” (doc. no. 1191135); “La necesidad de la imaginación” (doc. no. 1190793); “Nuestra institución” (doc. no. 1182010); “Los nuevos movimientos de las artes” (doc. no. 1182868); “Opiniones (I)” (doc. no. 1185411); “Palabras de clausura para un año de apertura” (doc. no. 1191167); “Referencias sobre identidad, cultura y arte en Latinoamérica” (doc. no. 1183641); “Reflexiones en torno a la supuesta crisis de las artes plásticas” (doc. no. 1185539); and “Sobre el papel de la crítica” (doc. no. 1187071)].

María Eugenia Grau, Gabriel Peluffo
Cortesía Óscar Ferrando
Courtesy of Oscar Ferrando acting as ex-secretary general.
Archivo del Museo Juan Manuel Blanes