-
[Admiro con temor las grandes esculturas de Badii...]
1963By means o a poetic prose, art critic Jorge Romero Brest states that he fearfully admires the huge sculptures and lovingly cares about the drawings and small sculptures made by Líbero Badii. He analyzes the relationship between art and life, from [...]ICAA Record ID: 759435 -
[Compreender el mesaje expresivo]
1945In this essay, the well-known Argentinean critic Jorge Romero Brest attempts to assess national problems as they were understood by the most famous Brazilian artists, touching on a raw nerve concerning the differences between the art produced in [...]ICAA Record ID: 808053 -
[Con "Experiencias 1968" y...]
1968Jorge Romero Brest points out that in the Experiencias 1968 [1968 Practices], young artists tried to raise the problem of creation in terms that were almost extreme, presenting crucial situations that depart from traditional “artwork” only by a [...]ICAA Record ID: 759903 -
[Cuando hace dos años...]
1963Jorge Romero Brest introduces the artists Ernesto Deiro, Rómulo Macció, Luis Felipe Noé, and Jorge de la Vega as a collective group. He points out the commonalities that the artists have with Informalism, such as a liberated approach to things [...]ICAA Record ID: 741409 -
[Cuando un artista llega a tener cincuenta años, su estilo está generalmente marcado...]
1965Jorge Romero Brest, the art critic and director of the Centro de Artes Visuales [Center for the Visual Arts], writes about the style and attitude he sees in Antonio Berni’s work, discussing the changes that can be observed in the artist’s [...]ICAA Record ID: 779908 -
[Cuando un artista pertenece a un grupo]
1967Jorge Romero-Brest presents Horacio García-Rossi’s exhibition (Galería Rubbers, Buenos Aires, May, 1967), highlighting the fact that he belongs to GRAV (the Paris-based Group of Research on Experimental Visual Arts), though emphasizing the fact [...]ICAA Record ID: 763325 -
[De todos los premios afortunadamente se multiplica fomentando...]
1963Writing the prologue for the catalogue of the Premio Ver y Estimar [To See and Ponder Magazine Prize] held in 1963 in Buenos Aires, the author claims to observe the distinctive feature of this competition in this statement: “it voluntarily [...]ICAA Record ID: 753920 -
[Del 10 de julio al 12 de agosto de 1962, se realizó en el Museo Nacional de Bellas Artes la exposición...]
1962This resource contains the discussion between the members of the jury for the Premio Nacional e Internacional Torcuato Di Tella [National and International Prize Torcuato Di Tella] 1962. After long deliberations, this jury—consisting of Giulio [...]ICAA Record ID: 755710 -
[En 1962 organicé una gran exposicion con obras de Libero Badii]
1962Jorge Romero Brest published the letter written in Oslo (Norway), in 1962, for Libero Badii's exhibition at Museo Nacional de Bellas Artes [National Museum of Fine Arts], in which he excused himself for not having been able to write the corresponding [...]ICAA Record ID: 759422 -
[En Buenos Aires a los seis dias...]
1964The members of the jury assigned to participate in the 1964 Instituto Torcuato Di Tella Prize, Jorge Romero Brest, Clement Greenberg, and Pierre Restany have decided to grant the International Prize to Kenneth Noland, and also recommended the [...]ICAA Record ID: 762255 -
[En Buenos Aires a los veintinueve días del mes...]
1966The jury for the 1966 Premio Internacional Instituto Torcuato Di Tella [Instituto Torcuato Di Tella International Prize], composed of Lawrence Alloway, Otto Hahn and Jorge Romero Brest, awarded the first prize to Susana Salgado, second prize to [...]ICAA Record ID: 757030 -
[En Buenos Aires a los veintiseis días...]
1965The jury for the Premio Internacional Instituto Torcuato Di Tella 1965 [1965 Instituto Torcuato Di Tella International Prize], which consisted of Giulio Carlo Argan, Alan Bowness, and Jorge Romero Brest, voted to purchase Cuatro Habitaciones [Four [...]ICAA Record ID: 758318 -
[En Buenos Aires, a los cuatro días...]
1960The jurors designated to act on the Argentinean Painters Prize of the Torcuato Di Tella Institute, Jorge Romero-Brest and Lionello Venturi, unanimously decide to grant the prize to Mario Pucciarelli for his work De profundis [Out of the Depths of [...]ICAA Record ID: 755066 -
[En Buenos Aires, a los nueve días del mes de agosto...]
1963The jurors of the Premio Instituto Torcuato Di Tella 1963, Jorge Romero Brest, Jacques Lassaigne, and William Sandberg, awarded the Premio Nacional [National Prize] to Luis Felipe Noé for his work and in particular, Introducción a la esperanza [ [...]ICAA Record ID: 758230 -
[En Buenos Aires, a los veintiocho dias del mes de septiembre...]
1964The jury appointed to judge the 1964 Premio Instituto Torcuato Di Tella [Torcuato Di Tella Institute Prize]—whose members included the critics Jorge Romero Brest (Argentina), Clement Greenberg (United States), and Pierre Restany (France)—decided [...]ICAA Record ID: 762276 -
[En memoria de quien fuera esforzado coleccionista...]
1960In his double function as director of the Museo Nacional de Bellas Artes [National Museum of Fine Arts] and art consultant of the Fundación Torcuato Di Tella in Buenos Aires, Jorge Romero-Brest wrote the prologue for the Argentinean Painters Prize [...]ICAA Record ID: 755039 -
[Estaba pensando en la convivencia de que alguien destacara acerca de la pintura de Macció...]
1964Jorge Romero Brest writes that the jury he was a member of awarded Rómulo Macció the International Prize from the Instituto Torcuato Di Tella (1964), in which he distinguished himself from among the works of foreign artists. By the way and in overt [...]ICAA Record ID: 768860 -
[Hubiera querido escribir sobre Paternosto y Puente...]
1966In this document, the art critic Jorge Romero Brest writes about the work of César Paternosto and Alejandro Puente, discussing the concepts of color and image. Romero Brest emphasizes the treatment of the irregular frames that simultaneously suggest [...]ICAA Record ID: 762947 -
[Leopoldo Torres Agüero merece más, mucho más...]
1963Jorge Romero Brest describes Leopoldo Torres Agüero’s work by saying that it is clearly by someone who understands that contemporary creative output does not represent individual expression as much as a manifestation of reality. The critic also [...]ICAA Record ID: 768904 -
[Letter] 1961 diciembre 18, Buenos Aires [to] Alicia Pérez Peñalba
1961Jorge Romero Brest writes to Alicia [Pérez] Penalba about an exhibition of her work that is scheduled for the Centro de Artes Visuales del Instituto Torcuato Di Tella [Center for Visual Arts of the Torcuato Di Tella Institute], which coincides with [...]ICAA Record ID: 755767 -
[Letter] 1962 Abril 12, Buenos Aires [to] Enio Iommi
1962Jorge Romero Brest writes to Enio Iommi inviting him to participate in the Torcuato Di Tella Institute Prize (1962 edition), enclosing the rules. In addition, he informs him that he will be able to apply for the National Prize (and eventually for the [...]ICAA Record ID: 755780 -
[Letter] 1962 Marzo 27, Buenos Aires [to] Rafael Squirru
1962Jorge Romero Brest writes to art critic Rafael Squirru, then general director of cultural relations at the Foreign Office of Argentina informing him about the new format for the Torcuato Di Tella Institute Prize. This will include works by national [...]ICAA Record ID: 755840 -
[Letter] 1967 Junio 12, Buenos Aires [to] E. de Wilde
1967This is a letter sent by Jorge Romero Brest to E. de Wilde, Director of the Stedelijk Museum [City Museum] of Amsterdam in which he explains that, although he regrets their disagreement, the Instituto Torcuato Di Tella does not disclose beforehand [...]ICAA Record ID: 758116 -
[Letter] 1968 Abril 25, Buenos Aires [to] Alfredo Rodríguez Arias
1968This letter, addressed to Alfredo Rodríguez Arias, invites him to participate in Experiencias 1968 [The 1968 Practices]. It states that 60,000 Argentinean pesos would be provided to realize the experience. It likewise stipulates that letters [...]ICAA Record ID: 758568 -
[Los cinco pintores que me honro en presentar...]
1960Jorge Romero Brest begins his text with theoretical definitions about art’s meaning, perceived as an entity that has its own being. In his opinion, the artist becomes a trigger for an expression that is always being, in addition to the experience [...]ICAA Record ID: 762815 -
[Me complace destacar a estos jóvenes artistas...]
1965In this article, the Argentine critic Jorge Romero Brest compares and contrasts the work of two young artists—Luis Alberto Wells and Pérez Celis—and suggests that they both create something “innovative” and thus connect to what “is real [...]ICAA Record ID: 768933 -
[Por tercera vez se organiza el "Premio Ver y Estimar"]
1962This text introduces the catalogue for the 1962 installment of the Premio de Honor Ver y Estimar [To See and Ponder Magazine Runner-up Prize] (Buenos Aires). According to the author, the prize, now in it its third incarnation, “has begun to reveal [...]ICAA Record ID: 753937 -
[Presentar a Oscar Melano implica correr cierto riesgo...]
1966Jorge Romero Brest introduces the exhibition of works by Carlos Melano and refers to Melano’s predilection for art in search of an audience that sees the world as he does. Romero Brest claims to have accepted the risk of presenting such a [...]ICAA Record ID: 765452 -
[Tal vez sea abusivo el empleo de la palabra "experiencia"...]
1967Jorge Romero Brest ponders the term “experiencia” [full-blasted experience] in regard to the 1960s vanguards. He considers that those experiences are based on attitudes, usually addressed toward a special kind of realities in order to generate [...]ICAA Record ID: 762833 -
[Um grupo de jovens pintores e escultores argentinos]
1953This document is the forewod to the Grupo de Artistas Modernos Argentinos [Modern Artists Group of Argentina] exhibition that presented works by the concrete artists Tomás Maldonado, Alfredo Hlito, Enio Iommi, Claudio Girola, Lidy Prati, as well as [...]ICAA Record ID: 743236 -
A arquitetura é a grande arte de nosso tempo —1948 : Romero Brest em São Paulo
2016This text includes a few excerpts from the six lectures that Jorge Romero Brest gave in São Paulo in 1948. At that time, Romero Brest held an academic position at the Universidad de Montevideo and was the director of the magazine Ver y estimar [...]ICAA Record ID: 1314972 -
Acerca de la verdad artística
1965Jorge Romero Brest’s presentation muses on artistic truth. The critic wonders if scientific and artistic truths have anything in common, suggesting that genuine artistic truth is devoid of preexisting realities. He also wonders if works of art are [...]ICAA Record ID: 757941 -
Comments on the Article by Damián Bayón
1975In this text, Jorge Romero Brest responds to an article by Damián Bayón about what qualities make art produced by Latin American artists Latin American, and to four related questions about the nature of Latin American art which were sent to him by [...]ICAA Record ID: 1061762 -
Diálogo sobre el arte abstracto y el arte concreto
1954In this article, Argentine art critic, Jorge Romero Brest, establishes a dialogue with the viewer unfamiliar with abstract art to explain the central ideas of that movement and of Concrete Art. In so doing, he emphasizes the prejudice that abstract [...]ICAA Record ID: 824437 -
El arte informal y el arte de hoy : un artículo muy remozado y reflexiones nuevas
1963The critic reflects on Informal art by summarizing the different names that it has been given: art autre, action painting, art informel, art brut, etc. Romero Brest proposes to call it either Virginal or Un-constructive art, even though he deems [...]ICAA Record ID: 757816 -
El artista latinoamericano y su identidad
1978Argentine critic Jorge Romero Brest remarks that he was not invited to participate in the symposium “El artista latinoamericano y su identidad” [The Latin American Artist and His Identity] held at the University of Texas en Austin in October 1975 [...]ICAA Record ID: 822512 -
El juicio de los críticos
1964The presentation of the 1964 Torcuato Di Tella Prize, written by critic Jorge Romero Brest, refers to the drawbacks of the critical discourse. Particularly because it is based on causal nexus and it does not acknowledge that what is real is hidden [...]ICAA Record ID: 762323 -
El método que aplico
1966Jorge Romero Brest’s introductory text refers to his method, including the explanation behind why artworks are realities that allude as much to reality as to unreality, and that they produce beings within the [social] imaginary. Along this [...]ICAA Record ID: 757064 -
El pintor de hoy no sabe qué hacer
1985This unsigned interview with Argentinean critic Jorge Romero Brest published in the weekly Jaque is somewhat alarmist. The main topics addressed—the decline of easel painting in the world over, the avant-garde experience at the Instituto Di Tella [...]ICAA Record ID: 1244958 -
El Premio Nacional Instituto Di Tella 1966
1966This text summarizes the concepts raised by Jorge Romero Brest in relation to the debates provoked by the Premio Torcuato Di Tella [Torcuato Di Tella Prize]. It establishes rules to be followed for the analysis of those who paint or sculpt images, [...]ICAA Record ID: 761929 -
El Primer Salón Municipal de Artes Plásticas
1940While art critic Jorge Romero Brest’s influence was international in scope, it was particularly great in Latin America and the Río de la Plata region. His regional prestige as a lecturer was also considerable and, in 1940, he was invited to give a [...]ICAA Record ID: 1196490 -
Exposición de veintidós pintores argentinos contemporáneos
1943In 1943, an exhibition consisting of twenty-two Argentinean artists organized by the Argentinean art critic Jorge Romero Brest and sponsored by the Comisión Nacional de Bellas Artes de la Argentina [National Commission of Fine Arts of Argentina] [...]ICAA Record ID: 1228230 -
Impugnación y rebeldía en el arte y fuera del arte
1968This text summarizes the first class given by Jorge Romero Brest in response to the request of the Departamento de Adherentes at the Instituto Torcuato Di Tella [Department of Adherents at the Torcuato Di Tella Institute]. In this class, the critic [...]ICAA Record ID: 761959 -
Inleiding
1953In this document Jorge Romero Brest introduces the exhibition Grupo de Artistas Modernos Argentinos [Modern Artists Group of Argentina] at the Stedelijk Museum of Ámsterdam. The exhibition presented works by the Concrete artists Tomás Maldonado, [...]ICAA Record ID: 743099 -
Introduction
1964Jorge Romero-Brest analyzes the characteristics of Argentinean art from the early 19th century to the present, considering influences of international artistic trends and their diverse consequences in the local milieu. Furthermore, the art critic [...]ICAA Record ID: 768175 -
La problemática del arte latinoamericano
1984The Argentine critic Jorge Romero Brest states that he generally agrees with the lecture that Juan Acha gave at the XVII Congreso Extraordinario de la AICA [17th Extraordinary Conference of the AICA], held in Caracas in 1983. However, Romero Brest [...]ICAA Record ID: 805676 -
Palabras liminares
1956From his official position as director of the Museo Nacional de Bellas Artes [National Museum of Fine Arts], Romero Brest refers to the “black period” that had just come to an end, in 1955, with the overthrow of the Perón regime. According to [...]ICAA Record ID: 743276 -
Punto de partida
1948As its title suggests, this article is an introduction to Ver y estimar. Cuadernos de crítica artística. The text explains that these notebooks were created “so that a group of scholars might fill their pages . . . with the results of the [...]ICAA Record ID: 787253 -
Punto de vista crítico
1953Using the Grupo de Artistas Modernos de la Argentina exhibition held at Galería Krayd in 1953 as a starting point, Jorge Romero Brest writes a critical text explaining his motives for supporting Concrete art. He proposes—in a prophetic tone—that [...]ICAA Record ID: 742528 -
Respuesta de Jorge Romero Brest
1952Open letter in which Jorge Romero-Brest, director of the journal Ver y estimar [To See and Ponder], responds to Margherita Sarfatti. According to the heading that introduces it, this argument originated in a private letter—of which the logic can be [...]ICAA Record ID: 742904