Documents of Latin American and Latino Art

The researcher Irma Arestizábal comments on the placement of Argentinean avant-garde art, (always at the margin) in relationship to the hegemonic art centers. She writes based on a selection of works of Argentinean artists that appear in [...]

In this chapter from América Latina en sus artes Jorge Alberto Manrique begins by describing the artistic movements of the 1920s and comparing this period to a giant hinge that moved backward to the nineteenth century and forward to the twentieth [...]

Julio Rinaldini criticizes the leaflet with the manifesto of the Seven Artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who participated in the exhibition at [...]

Invitation to the Exposición de Pintores Modernos [Modern Painters Exhibition], which took place at Amigos del Arte [Friends of Art] (Buenos Aires, June, 1926), and included the following artists: Emilio Pettoruti, Norah Borges, Xul Solar, and [...]

With the local context in mind, Padeletti writes about the criteria of originality and the problem of aesthetic contemplation. In addition, the critic points out the development of Argentinean collections, in particular those of the city of Rosario: [...]

The checklist of the retrospective exhibition of modern artists at Amigos del Arte [Friends of Art] in 1935. Those who participated, with important works created since the 1920s, were Aquiles Badi, Héctor Basaldúa, Antonio Berni, Horacio Butler, [...]

In this text, Saúl Yurkievich examines how Latin American art has been affected by its context, arguing that even as art becomes increasingly autonomous it is still a means of communication and as such must be considered in relationship to the [...]

Julio Rinaldini criticizes the exhibition of modern artists in Amigos del Arte [Friends of Art] and maintains that it conceals a disturbing situation under a pleasant tone: modern painting is not liberty without control, he states. The critic defends [...]

Exhibition catalogue from the Exposición de Pintores Modernos [Modern Painters Exhibition]. It took place in the Amigos del Arte [Friends of the Arts] facilities (Buenos Aires, June, 1926) and showcases the roster of artists taking part— [...]

In 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] [...]

In this text, Damián Bayón considers the question: What qualities make art produced by Latin American artists Latin American? He begins by declaring that the art of Latin America becomes Latin American when an artist—because of his or her [...]

The painter Carmelo de Arzadun wrote this critical review of the exhibitions held in Uruguay from 1936 to 1939, a period that was defined by effervescent creativity and a lively calendar of artistic events. The exhibition of works by French artists, [...]

Alberto Prebisch reports on the exhibition held at “Friends of Art” comprised of works by Emilio Pettoruti, Xul Solar, Norah Borges, as well as two projects by the architects, Ernesto Vautier and Alberto Prebisch, representatives of the & [...]

This essay by the Spanish writer Guillermo de Torre presents an interesting comparison between avant-garde literature and painting in Argentina. The writer describes the new painters with precise commentaries on the visual arts, as well as touching [...]

Xul Solar analyzes the work of Argentinian painter Emilio Pettoruti, whom he considers “one of the fathers of future Criollo art which now is being born”, as “the Criollo avant-garde towards the future.” Such a Criollo future [...]

This article affirms the connection of the work of the Argentinean painter Emilio Pettoruti to distinct schools of the European vanguard; although, it is not possible to relegate his work to any one of them. On the contrary, the art of Pettoruti is, [...]

Xul Solar, after analyzing and interpreting the works of Argentinean painter Emilio Pettoruti and reviewing his biographical information, perceives him as “fathering” the impending Criollo art. Xul understands that his work is still in [...]

In this text, Damián Bayón introduces a collection of essays on Latin American art with a broad overview of what he argues are the most critical issues when considering the historical and contemporary art of the region as a whole. He begins by [...]

In her essay, Marta Traba launches an argument in five parts against nationalism in recent Latin American painting. In the first part, she identifies nationalism as the main problem with regard to contemporary painting. Although it poses as a path to [...]

This article characterizes the work presented byRamón Gómez Cornet at Chandler Hall in 1922 as “personal,” in keeping with the means of understanding the “ismos imperantes” [“prevailing –isms”] of that era. At the same time, Atalaya [...]

Leonardo Estarico critiques the seven artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who exhibited at Amigos del Arte [Friends of Art [...]

This article by Atalaya (Alfredo Chiabra-Acosta) analyzes the visual works of Aquiles Badi, Juan Del Prete, and Emilio Pettoruti, which were exhibited at the 13th Salon of Watercolor, viewing them as the only ones worthy of mention, since they are [...]