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This introductory essay explains that the works by Alejandro Puente and César Paternosto take a different approach to geometric expression, thus introducing what might be called a ”sensitive geometry” as opposed to the hardness of Concrete art, because it retains its creator’s imprint. Paternosto’s work is distinguished by the way his colors enhance the quality of his subject matter. Puente’s work, on the other hand, is remarkable for the nuances of its colored surface and for the sharpness of its outlines.


Aldo Pellegrini (1903-1973) was a poet, playwright, essayist, art critic, and a moving force in Argentine cultural circles. He was an early promoter of Surrealism, and directed several publishing projects. He was also an active supporter and promoter of the various expressions of Abstract act, and provided encouragement to groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and the Asociación Arte Nuevo [The New Art Association].

Alejandro Puente is an Argentine artist; he was born in 1933 in La Plata, in the province of Buenos Aires. In the early 1960s he was a member of the Informalist-leaning Grupo Si [Yes Group]. He later expanded his artistic vocabulary to include geometric forms which, during the 1970s, evoked pre-Hispanic cultures. Puente currently lives and works in Buenos Aires. 

César Paternosto is an Argentine artist, born in 1931. He lived in New York from 1967 to 2004. After joining the Gupo Si he produced geometric works, creating painting/object in the hard-edge style. Later on he developed the Visión Oblicua [Oblique View] series, in which he painted the sides of his frames and left the front surface blank. This artists lives and works in Spain.

In 1960, Mario and Paulette Fano, a French couple, opened Galería Lirolay in Buenos Aires. They hired French painter Germaine Derbecq as consultant and for three years, she built a name for the gallery as a place where innovative young artists could be discovered. Young artists were selected and promoted there every two weeks, and the gallery developed a name for spotting new forms of artistic expression, opening the space to many budding artists who held their first solo show there.

This essay — which introduces the exhibition that was held at the Galería Lirolay October 23-November 5, 1964 — was chosen because it documents Pellegrini’s vision of the geometric works of Puente and Paternosto, which he saw as a “sensitive” alternative to Concrete art.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Fundación Espigas.