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  • ICAA Record ID
    731318
    TITLE
    Los dibujos de Norah Borges / Alberto Prebisch
    IN
    Martín Fierro: Periódico quincenal de arte y crítica libre (Buenos Aires, Argentina). -- Vol. 3, no. 36 (Dic. 12, 1926)
    DESCRIPTION
    ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Reviews
    BIBLIOGRAPHIC CITATION
    Prebisch, Alberto. "Los dibujos de Norah Borges." Martín Fierro: Periódico quincenal de arte y crítica libre (Buenos Aires), vol. 3, no.36 (December 12, 1926).
    GEOGRAPHIC DESCRIPTORS
Synopsis

Alberto Prebisch notes that both poetic ambition and lyrical tendency offer “a clear differential outline” to literature and the contemporary art. To exemplify these features within the visual arts he analyzes a work by Norah Borges.

Annotations

Martín Fierro (1924–27) played a major role in the great proliferation of avant-garde journals published in Argentina, more specifically in the 1920s Buenos Aires. Evar Méndez led it, though throughout 1925, Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also took part in its administration. Among the participants were key Argentinian writers such as Girondo, Ricardo Molinari, Leopoldo Marechal and Jorge Luis Borges, among others; as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those who supported the magazine assuming a political stance and those who did not. This internal bickering continued until the publication’s end. It is important to recognize that Martín Fierro was seen in its time as a key fixture of the Avant-garde in Argentina.

Alberto Horacio Prebisch (1899–1970), Argentinean architect that completed his training in France. Upon his return to Argentina in 1924, he disseminated the principles of Modern architecture, particularly those proposed by Le Corbusier. As an art critic in the Martín Fierro publication, he advocated for a “retour à l’ordre” [return to order] aesthetics in the visual arts field.

Since 1924 and after the abandonment of a “breaking” visual image tied to the Expressionist poetic, Norah Borges (1901–98) leaned toward a “return to order” aesthetics. During the 1920s, she was one of the protagonists, along with Pettoruti and Xul Solar, involved with Argentina’s expressive renewal.

Researcher
Natalia Pineau
Team
Fundación Espigas, Buenos Aires, Argentina
Credit
Courtesy of the Prebisch Family, Houston, TX
Location
Fundación Pan Klub - Museo Xul Solar.