Cipriano Vitureira (1907−1977) was an essayist, poet, promoter of culture, and an art critic. In his book Arte Simple (Montevideo, 1937), he devoted the entire seventh chapter to analyzing the artwork of Pedro Figari (1861−1938). Almost all critics and researchers placed him as a multi-role personality, including favoring professional risks (as a lawyer) and in the ideological (as a philosopher). In fact, Figari was an advocate of the abolition of the death penalty, an advanced politician, a cultural activist, a promoter of artists and artistic events, a journalist, poet, writer, thinker, and educational promoter for the working class with artistic impact aimed at promoting training programs, among many other facets. It was undoubtedly an unusual cumulative amount of public commitments that would unavoidably transform him into a cultural icon in regard to regional cultural discussions and debate during the first decades of the twentieth century. Notwithstanding these aspects, Vitureira focused on the artwork and thematic voice of the “artist Figari,” as if the public thinker was condensed within the artistic profile. First of all, he raises the discrepancy with the praise that is bestowed on Figari as either an indigenous poet and as the first painter of America. Vitureira points to the various themes in his artwork such as patios, a mixture of creole dances and candombes, lanscapes with moons, skies, the lowlands of The Pampas, old stagecoaches, old country houses, etc. These are all local visual aspects that are attached to a certain sense of “homegrown” anecdotal reservoirs that traverse purely traditionalist customs, and do nothing but emphasize and underscore Figari’s approach as that of a “universal artist.” The critic considers pantheism as the necessary ideal of every artist within his world, denying the repeated characterization of the monotheistic Figari as being mere particular note. In its disposition for the drawing syncretic as in its capacity for the brushstroke and the color, it links the contemporary plastic languages. Therefore, the author connects his brushstrokes, of difficult lightness, with Vincent van Gogh (1853−1990) and his color—more than aesthetic approach, a true new language—with the influence of Pierre Bonnard (1867−1947). The universality that highlights Vitureira in Figari takes European references striving to show his “regionalism” is expanded and achieved through attitudes common to all men: humor, humility, sadness, and drama. Elements of great expansive potential from local scenarios, which are concerned about the persistent human condition in space and time. [For further reading, please refer to the ICAA digital archive and the following texts on Figari: “Las exposiciones Cuneo y Michelena [Un juicio de Pedro Figari]” (doc. no. 1233819), “Industrialización de la América Latina, Autonomía y Regionalismo: Carta abierta dirigida por el Dr. Pedro Figari al Excmo. Señor Presidente de la República Oriental del Uruguay” (doc. no. 1181222), “Un poco de crítica regional” (doc. no. 1258164), “América Autónoma: no basta instruir, hay que enseñar a trabajar” (doc. no. 795325), “Arte, técnica, crítica. Conferencia bajo el patrocinio de la Asociación Politécnica del Uruguay” (doc. no. 1263840), “Autonomía Regional” (doc. no. 1254337), and “Una carta de Pedro Figari” (doc. no. 1197040)].