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Romualdo Brughetti writes about artists who abide by visible and formal American constants and others who are defined by a formalism that originated in modern Europe. The article is about a question that came to light during the Peruvian artist Julia Codesido’s show at Galería Pizarro in Buenos Aires. Brughetti compares it with other exhibitions that took place in the same city, which showed works by Ramón Gómez Cornet, Juan Del Prete, Miguel Ocampo, Víctor Chab, and Grupo Espartaco (Ricardo Carpani, Mario Mollari, and Juan Manuel Sánchez, among others). Stemming from the “forma substancia” [shape-gist] concept, Brughetti suggests what a program called “American” [Continental] art should be like. 


Romualdo Brughetti (1911–2002) was a poet and essayist on Argentinean art who taught at the Universidad de La Plata, was president of the Asociación Argentina de Críticos de Arte [Argentinean Association of Art Critics], and a member of the Academia Nacional de Bellas Artes [National Academy of Fine Arts]. This document refers to one of his main activities: to be an art critic for the Catholic journal Criterio [Criterion] besides being a collaborator for the daily newspaper La Nación [The Nation].

This document is relevant to the discussion about which art should be called “American” and its relation to European forms in a moment of profound modernization within the artistic field. It states, on another hand, the reception of Latin American artists in Buenos Aires, as is the case of Peruvian Julia Codesido and her exhibition in the Galería Pizarro.

This is a clip from the Archives of Galería Pizarro, and Fundación Espigas.

Roberto Amigo.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Maria José Arambarri, Trenque Lauquen, Argentina
Archivo Galería Pizarro, Fundación Espigas, Buenos Aires.