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    La nueva estructura de la pintura perceptista : continuación / Raúl Lozza
    Perceptismo : Teórico y polémico (Buenos Aires, Argentina). -- No. 4 (May. 1952)
    Journal article – Essays
    Lozza, Raúl. "La nueva estructura de la pintura perceptista: Continuación." Perceptismo: Teórico y polémico (Buenos Aires), no. 4 (May 1952).

A text that analyzes the structure of Perceptivist painting by discussing the different solutions developed throughout the history of painting. Raúl Lozza analyzes the proximity of colors among themselves and to the spectator, its depth and its connection, noting that the relationships can be controlled depending on their extension and the connection with the surrounding medium. In his text, Lozza states that the following should be taken into consideration: the total dimensions of the architectural wall; the average distance between it and the spectator; the pictorial visual field, and the simultaneous perception angle; the real color of the wall and the apparent chromatic intensity in accordance with light and space, as well as the structural field or the space circumscribed by the points of reference. In this sense, it is affirmed that the spatial structure of Perceptivism is a modern and dynamic conception of space because it allows painting to integrate into real space.


Perceptismo. Teórico y Polémico [Perceptivism: Theoretic and Polemic] was the official publication for the Perceptivist group. In its seven issues—which circulated in Buenos Aires between October of 1950 and July of 1953—Raúl Lozza, Rembrandt van Dyck Lozza (1915), and Abraham Haber (1924–1986) wrote their essays. The last issue incorporated the subtitle “Homenaje al esfuerzo por la paz” [Tribute to the Effort Toward Peace] and the group decided to withdraw it from sale in light of the risk of having the edition seized due to the censorship that prevailed at the time.

Perceptivism is the name given to the proposal created by Argentinean artist Raúl Lozza, after his split from the Asociación Arte Concreto — Invención [Concrete Art and Invention Association]. The Perceptivist argument is supported by three principles: the substitution of the traditional background by the notion of field (architectural wall), the creation of “cualimetría” [quality measurements] of the flat form, and the centrifugal structure of references in space, which seeks to preclude the incidence of the periphery.

Raúl Lozza (1911–2008) was an Argentinean artist born in Alberti, Province of Buenos Aires. He was a part of the editorial group of the journal Contrapunto [Counterpoint], was a founding father of the Asociación Arte Concreto — Invención and, in 1947, he created Perceptivism, an orientation that had its own publication. Lozza continued working both on a relational theory of color and on the notion of the colored field.

This source has been selected insofar as it sets the programmatic bases of Perceptivist structure, in an analysis that is developed in issues 3, 4, 5, and 6 of the magazine Perceptismo. Teórico y Polémico.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Courtesy of the private archives of Raúl Lozza, Buenos Aires, Argentina
Archivo Fundación Espigas