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  • ICAA Record ID
    Manifiesto de los Artistas Grabadores del Uruguay
    Montevideo, Uruguay : sin datos, 1944
    1 leaf
    Loose leaf – Manifestoes
    Manifiesto de los Artistas Grabadores del Uruguay. Montevideo, 1944, 1.

Towards the end of 1944, the first core group of artistic engravers was created publishing its manifesto on the eve of the inauguration of the Primer Salón de Grabadores del Uruguay [The Fist Hall of Engravers of Montevideo on November 6th of that year.  Their intent was in providing accreditation to this type of creativity and placing it with the other consensual “artistic” categories with the purpose of having the ability to compete in national exhibition halls and other artistic competitions as an independent discipline.


Although this skill dated back to the beginning of the twentieth century in Uruguay, the slow formation of groups of engravers, woodcutters and etchers began to entrench itself towards the middle of the century in Uruguay. The national fine arts halls, that began to exist in Uruguay from 1937, had in 1946, just started to award the discipline of artistic engraving, woodcutting and etching.  Precisely, at the behest and of the pressure exerted by the Salones de Grabadores del Uruguay that had come to fruition two years previously. In November of that year, the first of these exhibition halls was held at the headquarters of the Asociación Cristiana de Jóvenes [Christian Youth Association]. Twenty-Four engravers and their work were represented in the various techniques of wood cutting (including linoleum cut prints), etching (including with soft varnishing) and dry ink engraving. A few days before the opening of the hall, a manifesto was published and diffused regarding the struggle of placing the creative skill of engraving into the “fine arts” as an artistic category, worthy of merit in competitions and for awards, like the attention given to painting and sculpture. It has been argued that their use of editorializing and publishing their stance allowed them to conquer a range of aesthetic problems comparable to any of the other disciplines. Almost ten years later, the CGM (Club de Grabado de Montevideo [Montevideo Engraving Club]) was founded as a corporate structure and with a more defined political platform. In fact, engraving became the production mechanism used to create multi exemplary forms and images, and incorporating these in massive public venues outside of the traditional art circuits.

Gabriel Peluffo Linari
Archivo Museo Blanes. Montevideo, Uruguay