The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Luis Felipe Noé comments on various shows in Buenos Aires, from which he highlights the work of Leónidas Gambartes, while also classifying the themes of his work: the earth and its mysteries; the image of woman as closer to both the earth and its mysteries; as well as the humanized representation of magical beings.
Luis Felipe Noé (Buenos Aires, 1933) began his studies with the painter Horacio Butler at the beginning of the 1950s, mounting his first exhibition in 1959. In 1961 he had a group exhibition as Otra Figuración [Another Figuration] at the Galería Peuser in conjunction with Ernesto Deira, Rómulo Macció and Jorge de la Vega. The group exhibited together until 1965. Noé stood out among the group due to his theoretical reflections on art in contemporary society. Among his central tenets was the idea of “chaos as structure” of an artwork. Notable among his publications are Antiestética [Anti-aesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Editorial La Flor, 1971).
A substantial renewal in the visual arts took place in Argentina during the second half of the 1950s. This process mandated an update of the understanding of visual language within art criticism. The present document is part of a group that reassembles the body of art criticism written by Noé in 1956. The documents were published in the newspaper El Mundo [The World] (published between 1928 and 1967, it was the first newspaper presented in tabloid format in Argentina, and enjoyed popularity due to its illustrated stories). Noé’s visual arts education took place, from the beginning of the 1950s, in the workshop of figurative artist Horacio Butler, who himself had been a member of the transformative group of Paris in the 1930s.
This document is of interest because it analyzes the work of Leónidas Gambartes, a key artist of the school of the Paraná River banks. Noé does this by examining what is for him a pivotal problem: the existential relationship within the work of art.