Topic Descriptor: painting (image-making)×
  • ¿Adónde va la pintura?
    Plá, Roger
    1945
    In this article, Roger Plá refers to Contrapunto magazine’s strategy of inviting artists to discuss the future of painting. The survey asked the following questions: 1. In your opinion, what is the material future of painting (as regards its [...]
    ICAA Record ID: 731018

  • ¿Exposición de arte español contemporáneo? : un manifiesto de artistas argentinos
    Berni, Antonio, 1905-1981
    1947
    In response to the absence of artists, such as Pablo Picasso and Juan Gris at the Contemporary Spanish Art Exhibition shown at the Museo Nacional de Bellas Artes in December 1947, the Argentinian artists expressed their disagreement by signing a [...]
    ICAA Record ID: 730388

  • (Hace dos años Bonome mostraba en la sala principal...)
    Berni, Antonio, 1905-1981
    1961
    Antonio Berni introduces Rodrigo Bonome’s exhibition of landscape paintings at the Galería Velázquez in Buenos Aires (1961) with a formal discussion on order in composition, and on color [...]
    ICAA Record ID: 775779

  • [Abstractos]
    Degand, León
    1949
    Léon Degand, the French art critic, delivers a lengthy review of figurative painting in order to explain that abstract art is not the one that is constantly subordinating input from external sources to the demands of plastic expression, but rather [...]
    ICAA Record ID: 743033

  • [Antes de hablarles de la mutualidad...]
    Grela, Juan
    1987
    Juan Grela speaks about painting in the city of Rosario at his lecture, beginning with the Mutualidad [Society]. He refers to his respect for the university and his long-standing relationship with Amigos del Arte [Friends of Art]. The author tells [...]
    ICAA Record ID: 768965

  • [El equilibrio, el misterio y el refinamiento presiden la pintura]
    Córdova Iturburu, C. (Cayetano), 1902-
    1966
    Cayetano Córdova-Iturburu presents Carlos Cañás’s exhibition (Galería Rubbers, Buenos Aires, October, 1966), emphasizing that both the will for balance and the order set by his painting stresses this artist’s classic position, despite the [...]
    ICAA Record ID: 763310

  • [El prólogo de Mac Entyre y Vidal requiere una explicación...]
    Squirru, Rafael, 1925-
    1960
    Rafael Squirru presents the exhibition by artists Eduardo Mac Entyre and Miguel Angel Vidal, identifying it as a sample of “generative art,” as it has been called by Ignacio Pirovano, in tandem with the writings of Georges Vantongerloo. In this [...]
    ICAA Record ID: 763131

  • [En esta exposición presento dos etapas]
    Berni, Antonio, 1905-1981
    1961
    Antonio Berni himself presents his works produced over a time span of three decades. Berni emphasizes that while he showed in the Sociedad Amigos del Arte [Friends of Art Society] his surrealistic production in 1932, there are many that do not know [...]
    ICAA Record ID: 765359

  • [En la obra de Luis Centurión...]
    García Martínez, José A.
    1960
    José Alberto García-Martínez presents Luis Centurion’s exhibition, highlighting the importance of his portraits. He also points out the synthesis of the form brought about through his drawing. Huge chromatic planes with which he expresses the [...]
    ICAA Record ID: 763163

  • [En lo que va del siglo, la pintura argentina...]
    Padeletti, Hugo, 1928-
    1962
    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: [...]
    ICAA Record ID: 762895

  • [Esta muestra tiene características de exposición retrospectiva...]
    Kemble, Kenneth, 1923-
    1960
    Kenneth Kemble presents the works he created since 1956. He explains the collage from his point of view. arguing that the search for experimentation with application of new materials is fundamental in the new visual arts. Unlike the surrealist [...]
    ICAA Record ID: 741334

  • [Esta nueva exposición del grupo de artistas no figurativos]
    Pellegrini, Aldo
    1961
    The presentation affirms that nonfiguration dominates the visual arts based on the sole convention of absolute creative freedom; thus the only limit for the artist is his medium. In Pellegrini’s judgment, the artist works within a perimeter of pure [...]
    ICAA Record ID: 762908

  • [Hubiera querido escribir sobre Paternosto y Puente...]
    Romero Brest, Jorge
    1966
    In 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

  • [I have been asked to speak about...]
    Kemble, Kenneth, 1923-
    1960
    Kemble develops a historical and formalist view of art, both from a Western and Eastern perspective, to arrive at the stylistic evolution present in both the 20th century and in his own work, which he analyzes from inception and through his personal [...]
    ICAA Record ID: 741307

  • [La Dirección General de Cultura de la Provincia y la Bienal Americana de Arte invitan a usted…]
    1966
    This is the invitation to the exhibition honoring Xul Solar, which took place on October 15, 1966, at the Museo Provincial Emilio A. Caraffa in Córdoba, Argentina, as part of the 3rd Latin American Art Biennial [...]
    ICAA Record ID: 770903

  • [La pregunta a esta nueva expresión comunicativa es ¿por qué has cambiado la pintura por la escultura?...]
    Badii, Líbero, 1916-
    1980
    Libero Badii explains that his transition from sculpting to painting demonstrated that he was an artist in his prime. According to him, painting could express the communicative meaning of his work. He mentions the "sinister" sense of his artistic [...]
    ICAA Record ID: 754073

  • [La primera exposición tiene una significación trascendental...]
    Paz, Samuel
    1960
    Samuel Paz presents Juan Carlos Badaracco, mentioning that because this is his first show, this exhibition (Galería Rubbers, Buenos Aires, April–May, 1960) points out a phase in which the artist put aside his monologue  in order to offer himself [...]
    ICAA Record ID: 763201

  • [La primera muestra individual de un artista...]
    Squirru, Rafael, 1925-
    Rafael Squirru introduces Narcisa Hirsch’s exhibition (Galería Lirolay, August–September, n/d), and he acknowledges the dramatic quality of an artist’s first solo show. Squirru stresses that Hirsch’s education and professional attitude are [...]
    ICAA Record ID: 764950

  • [Letter] 1961 Octubre 6, [Buenos Aires to Alberto Greco]
    Pérez Celis, 1939-
    1961
    Pérez Celis wrote a letter to the author that the Alberto Greco exhibition was a direct hit that injured the sensibility of effeminate painters. Lastly, with the use of word play, he stresses that it was a "serious" exhibition contrary to the [...]
    ICAA Record ID: 766499

  • [Letter] 1972 Octubre 25, [Minturno to] Libero [Badii]
    Paparella, Aldo
    1972
    Aldo Paparella writes to Libero Badii about the daily aspects of his stay; for example, the food, revealing how daily life allows him to elaborate aesthetic judgments. He mentions collectors' desire to have Badii's painting, by and large. Although he [...]
    ICAA Record ID: 754670

  • [Los cinco pintores que me honro en presentar...]
    Romero Brest, Jorge
    1960
    Jorge 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

  • [Nelson Blanco y Carlos Pacheco, ganadores ambos del Premio Braque...]
    Yurkiévich, Saúl, 1931-
    1965
    Poet and essayist Saúl Yurkiévich identifies Nelson Blanco and Carlos Pacheco as two figurative artists who react against Informalism, although he tracks the influence of chromatic geometry in both. For Yurkievich, the dynamics of new painting [...]
    ICAA Record ID: 762759

  • [Ninguna de las artes...]
    Pellegrini, Aldo
    1969
    The critic highlights the fact that—in Roberto Aizenberg’s work—a process of purification was set into motion by three essential elements: space, light, and architecture. Pellegrini points out that technical perfection and impeccable detailing [...]
    ICAA Record ID: 744959

  • [No estas aqui para gozar tus matices preferidos...]
    Parpagnoli, Hugo
    1962
    Hugo Parpagnoli introduced, with a brief text, the exhibition of the group Otra Figuración [Another Figuration] as the birth of a new language. Parpagnoli held that Otra Figuración assumed chaos—a key concept according to the theory of Noé, one [...]
    ICAA Record ID: 741539

  • [Para aquellos a quienes esta exposición pueda sorprender...]
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble wrote the introduction for his exhibition at the Galería Pizarro. He mentioned “1954” as the inception of his work with collages created with extra-pictorial materials. Kemble analyzed, as well, the use of tin and rusty metals, [...]
    ICAA Record ID: 741363

  • [Por segunda vez expone Federico Manuel Peralta Ramos...]
    González Frías, Federico
    1961
    Federico Gonzalez-Frías writes about the shift occurred in the painting of Federico Peralta-Ramos, and how he gave himself with abandon to luxurious and baroque illusions in order to carry out his search by means of pictorial materials, a more [...]
    ICAA Record ID: 759620

  • [Se notaba la ausencia de Benedit en Buenos Aires...]
    Parpagnoli, Hugo
    1964
    Hugo Parpagnoli introduces Luis Benedit’s exhibition at the Galería Lirolay (Buenos Aires, December, 1964). Parpagnoli describes Benedit’s work in terms of windows that open onto a bright, cheerful world. He claims that, although Benedit has [...]
    ICAA Record ID: 765323

  • [Un poeta que pinta provoca siempre...]
    Pellegrini, Aldo
    1970
    Pellegrini’s text presents a sampling of inks and drawings by Miguel Ángel Bustos, inaugurated simultaneously with the presentation of the book El Himalaya o la moral de los pájaros. [The Himalayas or the Morality of Birds]. Since Pellegrini is [...]
    ICAA Record ID: 744989

  • [Unidos a los medios formales de la línea y el valor...]
    Grela, Juan
    1963
    Juan Grela wrote about his understanding of art and of training young men and women in keeping with their own temperament. In his opinion, evolution did no apply; within an artist, there was only “being,” for which artists needed to connect to [...]
    ICAA Record ID: 763622

  • [Vivimos una época de innovaciones...]
    Curatella Manes, Pablo, 1891-1962
    1953
    Pablo Curatella-Manes presents an exhibition dedicated to sculpture, painting, and urban, as well as architectural projects by Martín Blaszko, Juan Kurchan, Juan Melé, and Simón Ungar, pointing out the relationship among the three media. The [...]
    ICAA Record ID: 765590

  • [Yo pinto]
    Robirosa, Josefina
    1967
    Josefina Robirosa wrote a very brief, poetic text about the nexus between her “innermost self” and her painting, and by means of her simple text she came close to linking the individual and painting [...]
    ICAA Record ID: 762871

  • 7 pintores abstractos
    Galería Pizarro (Buenos Aires, Argentina)
    1957
    Cover and listing of artists who participated in the exhibition 7 pintores abstractos [Seven Abstract Painters], held at Galería Pizzarro in Buenos Aires from October 1 to 19, 1957. Essentially, it brings to the fore a singular grouping in the 1950s [...]
    ICAA Record ID: 769021

  • Agustín Inchausti
    Lebenglik, Fabián
    1992
    In this document Fabián Lebenglik describes the characteristics of the work Agustín Inchausti presented in the exhibition Agustín Inchausti. Pinturas (Buenos Aires: Espacio Giesso, April 28–May 17, 1992); he compares it to the work he had been [...]
    ICAA Record ID: 769842

  • Algunas reflexiones sobre la pintura actual
    Vela, Rubén
    1961
    Rubén Vela writes about the relationship of Argentine artists to international art. He believes that Argentine artists are working on a purely aesthetic plane of creation. He studies the Juanito Laguna series in Antonio Berni’s work, previously [...]
    ICAA Record ID: 779972

  • Although good, Badaracco has the local disease
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble wrote about two exhibitions by artists who are presently not well known: Juan Badaracco and Sergio Ferraro. Through formal examination, Kemble pointed out qualities galore and pictorial sensibility in such works. Kemble especially [...]
    ICAA Record ID: 741003

  • Art critic K. Kemble Smith tells of an artistic exodus : in search of an understanding public to back their work
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble comments on the award granted at the São Paulo Biennial to the Argentinean sculptress, Alicia Penalba, living in Paris. This matter allows him to analyze the exodus of artists of the new generation in search of a public with a broader [...]
    ICAA Record ID: 741077

  • Arte : ¿Es una desventaja haber hecho el servicio militar, en pintura?
    Varela, Lorenzo
    1963
    Within the context of a journey through exhibitions open in Argentina at the time, Lorenzo Varela points out the singularity of an exhibition in which both the human figure and reality as a motive prevail, in overt opposition to the Informal art [...]
    ICAA Record ID: 762210

  • Arte generativo
    Mac Entyre, Eduardo; Vidal, Miguel Angel
    1960
    Statement by the artists Eduardo Mac Entyre and Miguel Angel Vidal, in which they recognize that their work stems from the proposal of the Argentinean Concrete artists, although they use the period and the straight line to produce movement. Given the [...]
    ICAA Record ID: 763149

  • Artes Plásticas : arte y expresión
    Roland, Alfredo
    1961
    Art critic Alfredo Roland affirms that traditional painting required a certain degree of skill. In his judgment, Informal Art and other cultural expressions of the time seem to have completely done away with this element. Roland ponders this aspect [...]
    ICAA Record ID: 757822

  • Artes plásticas : Kenneth Kemble
    Parpagnoli, Hugo
    1960
    The critic Hugo Parpagnoli describes the ongoing condition of expression and the different processes undertaken by Kenneth Kemble throughout his career. In his opinion, Kemble’s recent works transform pre-manufactured objects into constituent [...]
    ICAA Record ID: 741643

  • Artistas del “Movimiento Espejo”
    Pellegrini, Aldo
    1972
    Pellegrini’s introductory text in which he remarks that in contrast to the “dematerialization” of Conceptual art, the artists belonging to the Movimiento Espejo (Mirror Movement) propose the “materialization of the immaterial.” Starting [...]
    ICAA Record ID: 745064

  • Artistas y exposiciones : pinturas y “collages” de Kenneth Kemble
    Córdova Iturburu, C. (Cayetano), 1902-
    1960
    Cayetano Córdova Iturburu wrote a highly favorable review of the exhibition by Kenneth Kemble at Galería Lirolay. He praised the artist’s ability and training and discussed the text found in the artist’s exhibition catalogue, in which he [...]
    ICAA Record ID: 741619

  • Batlle Planas
    Bayón, Damián
    1948
    In this article, Damián Bayón describes and analyzes the painting of Juan Batlle Planas, an Argentine painter influenced by surrealism. Bayón believes him to be one of the “most gifted surrealists, replete with great pictorial knowledge and a [...]
    ICAA Record ID: 785966

  • Benedit
    Pellegrini, Aldo
    1967
    Aldo Pellegrini presents Luis Benedit’s exhibition Benedit: Pinturas 1966–67 (Galería Rubbers, March–April, 1967), pointing out that this latest production mixes “the wonderful” with humor, achieving images that struggle against [...]
    ICAA Record ID: 764932

  • Berni, pintor de la Argentina campesina expone en París
    Solsona, Braulio
    1955
    Braulio Solsona writes about the success Antonio Berni achieved with his exhibition in Paris (Galerie R. Creuze, 1955), while also affirming the importance of representing local problems; he also comments on the introduction by Louis Aragon [...]
    ICAA Record ID: 780006

  • Carlos Páez Vilaró
    Squirru, Rafael, 1925-
    1960
     Rafael Squirru presents Carlos Paez-Vilaró’s exhibition, highlighting this artist’s versatility in comparison with the prone to specialization, quite characteristic of technological civilization. In this sense, Squirru mentions that Paez-Vilar [...]
    ICAA Record ID: 763176

  • Carlos Páez Vilaró
    Ramallo, Ernesto
    1960
     Ernesto Ramallo writes the prologue for Carlos Páez-Vilaró’s exhibition, highlighting the versatility of this artist and prone to bring about monumental creations, besides endowing them with a touch of humor. At the same time, Ramallo traces a [...]
    ICAA Record ID: 763189

  • Carlos Torrallardona
    Bayón, Damián
    1950
    In this article, Damián Bayón analyzes the work of Carlos Torrallardona. To do so, he focuses on the composition, iconography, lines and use of color among other elements, including the adequate (or inadequate) visual tension he observes within [...]
    ICAA Record ID: 785980

  • Con ganas
    Alonso, Rodolfo
    1963
    Presentation by poet Rodolfo Alonso, a member of the group of poetry Poesía Buenos Aires, in which he refers to the artists presented at the 1963 Torcuato Di Tella Prize and to the plastic work that is intimately connected to his experiences, to the [...]
    ICAA Record ID: 758311

  • De por que Luis Felipe Noé (*) ya no es más pintor y sin embargo hace una exposición de pintura (autorreportaje)
    Noé, Luis Felipe
    1969
    In this text Luis Felipe Noé refers to the political climate; he states: “it is painting that left me.” Noé discusses the development of his work as well as his relationship with the market in order to question whether painting is still [...]
    ICAA Record ID: 740623