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"7 pintores argentinos"
1935Julio 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 [...]ICAA Record ID: 733926 -
“El Machete” ante la polémica de Cardoza y Aragón y Cabada
1936The dispute begun by Luis Cardoza y Aragón against the frente único [single front] policy of the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists] culminated with this declaration in El Machete. The [...]ICAA Record ID: 779297 -
[¿Quiénes levantaran el monumento a Posada?=Who will raise the monument to Posada?]
1930This issue contains more than 400 engravings by José Guadalupe Posada, with a preface by Diego Rivera, in which he redefines the engraver as a “worker,” “warrior of leaflets,” the “greatest artist” produced by the people, and the [...]ICAA Record ID: 757821 -
[Ata da primeira reunião do]
1935This text is the minutes of the first meeting of the Grupo Seibi (1935). It presents the deliberations that took place in a meeting that stated the following objectives for the group: (1) Encourage ties among the members; (2) Hold a monthly meeting [...]ICAA Record ID: 1110650 -
[Calaveras del Mausoleo nacional]
1934This print by Leopoldo Méndez was used for the cover of the first issue of Frente a Frente [Face to Face], in which the inauguration of the Palacio de Bellas Artes was satirized as an act of cultural exclusion. At the bottom of the page, a policeman [...]ICAA Record ID: 774365 -
[Comité Ejecutivo de la Liga de Escritores y Artistas Revolucionarios (LEAR) to Joseph Freeman, National Secretary of the John Reed Club (JRC). Communique]
1935This communiqué outlines the growth of the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists] in the last ten months, explaining the organizational structure and activities. It highlights the [...]ICAA Record ID: 800989 -
[Descoberta de rythmos, revelacao de possibilidades novas...]
1937In this lecture, Luis Martins discusses various aspects of modern Brazilian painting from the 1920s through the mid-1930s. He describes Brazil as a “country of reflections” that passively echoes the challenges faced by the visual arts in the rest [...]ICAA Record ID: 1110456 -
[El hecho de presentarnos en un grupo limitado...]
1935In this brief text, the subscribing artists (participants in the exhibition 7 pintores argentinos [Seven Argentinean Painters] in August 1935) maintain that they do not support any specific pictorial trend; they have however conflicting ideologies. [...]ICAA Record ID: 733845 -
[El hombre es libre]
1931Vicente Basso Maglio sees “creative freedom” as a constant that lies outside historical time. In his view, it is intrinsically human—a pure concept not bound to questions of style in art, which are to his thinking, vulgar, ornamental, and [...]ICAA Record ID: 1229417 -
[El siglo XIX estalla en una granada fantástica...]
1939In the introduction to this catalog, César Moro (a celebrated Peruvian poet and artist) alludes to the antecedents of Surrealism within the avant-garde movements of the beginning of the twentieth century. He also identifies the contact points that [...]ICAA Record ID: 752617 -
[Hoja Popular Ilustrada]
1938The Taller de Gráfica Popular (TGP) [People’s Graphic Workshop] explained its working plan for graphic propaganda in a flyer that specified the following: it could be incorporated into wall newspapers, mailed as if it were postal correspondence, [...]ICAA Record ID: 822757 -
[La Dirección de la Escuela Nacional de Bellas Artes...]
1930The book Artistas colombianos: Epifanio Garay, which was written by Colombian artist Coriolano Leudo Obando at an unknown date, is divided into two parts: a brief introductory essay on the life of academic artist Epifanio Garay Caicedo and twenty-one [...]ICAA Record ID: 1132805 -
[Letter] [1933, Junio?], Buenos Aires [to] Blanca Luz Brum
1933Other than the intimate details of the communication between Siqueiros and Brum, this letter provides extremely interesting insights into Siqueiros’s public relations in Buenos Aires, as well as his opinions and intentions concerning the local [...]ICAA Record ID: 1238660 -
[Letter] 1930 Julio 15, Miraflores [to] Antonino Espinosa y Saldaña
1930This letter by Mariano Ibérico was written at the request of painter Antonino Espinosa Saldaña. More specifically, Ibérico was asked to share his opinion on the polemic surrounding the course on Incan art given at the Escuela Nacional de Bellas [...]ICAA Record ID: 1143618 -
[Letter] 1930 junio 10, Lima, Perú [to] Antonino Espinosa Saldaña
1930In this letter, Héctor Velarde responds to the artist Antonino Espinosa Saldaña, regardin the debate provoked by the establishment of a course on “Inca Art” at the ENBA (Escuela Nacional de Bellas Artes). The author considers that humor [...]ICAA Record ID: 1143602 -
[Letter] 1930 Junio 18, México D.F. [to] Ignacio García Tellez, Rector de la Universidad Nacional Autónoma
1930In this letter, the interim director of the Escuela Central de Artes Plásticas [Central School of the Visual Arts] informs the rector of the Universidad Nacional Autónoma de México [UNAM National Autonomous University of Mexico], and attorney-at- [...]ICAA Record ID: 795917 -
[Letter] 1930 junio 25, Lima, [to] Antonino Espinosa Saldaña
1930This is a letter that was sent by José Sabogal in response to his colleague, Antonino Espinosa Saldaña, who requested his opinion on the polemics surrounding the course on “Inca Art” that was being offered at the ENBA (Escuela Nacional de [...]ICAA Record ID: 1143586 -
[Letter] 1933 maio 8, Rio de Janeiro [to] Alfred Kubin, Wenstein am Inn
1933In this letter written in 1933 to his Austrian teacher Alfred Kubin, the printmaker and draftsman Oswaldo Goeldi discusses at length the work of Vincent van Gogh and Edvard Munch. He also discusses his professional life in Brazil and mentions the [...]ICAA Record ID: 1110856 -
[Letter] 1934 Enero 11, Isla de Trinidad [to] Blanca Luz Brum
1934In this letter, David Alfaro Siqueiros tells Blanca Luz Brum that the Troubadour—the ship on which he sailed from Buenos Aires in December 1933—had arrived in Port of Spain, Trinidad and Tobago. Siqueiros talks about the book he wrote on the trip [...]ICAA Record ID: 1238692 -
[Letter] 1935 December 4th, México D.F [to] League of American Writers
1935Juan de la Cabada reports on progress in organizing a Congreso Continental de Científicos [Scientists’ Continental Congress] in Mexico City under the direction of Víctor Manuel Villaseñor in accordance with the resolutions of the American [...]ICAA Record ID: 801625 -
[Letter] 1935 June 6, México [to] Bernabé Barrios
1935This is a letter addressed to Barnabé Barrios, in New York, signed by Juan de la Cabada and Luis Arenal, as the editor and a member of the Executive Committee, respectively, of Frente a Frente [Face to Face] magazine. The authors inform Bernabé [...]ICAA Record ID: 801000 -
[Letter] 1935 June 6th, México D.F. [to] New masses
1935This document proposes an exchange of publications between Frente a Frente and New Masses, but its main goal is to convince the North American publication to use its influence to help connect LEAR to the Association d’Écrivains et Artistes [...]ICAA Record ID: 801041 -
[Letter] 1935 Junio 14, México D.F [to] Angel Flores
1935This essay discusses LEAR’s decision to establish a “Bureau Editor for Mexico” to publish the continent-oriented magazine, Sin Fronteras / All America—the roots of the future “Congreso Continental de Escritores y Artistas de Toda América [ [...]ICAA Record ID: 801551 -
[Letter] 1935 Marzo 31 [to] Alan Calmer
1935This letter written by the Comité Ejecutivo of the Liga de Escritores y Artistas Revolucionarios [Executive Committee of the League of Revolutionary Writers and Artists] was addressed to the American Writers’ Congress (AWC) in New York; it [...]ICAA Record ID: 807356 -
[Letter] 1935 Noviembre 8, Mexico City [to] Luis Arenal
1935After discussing how busy Germán List Arzubide—the Estridentista from old times—kept in New York’s workers’ media, Ben Ossa mentions the ideas suggested to LEAR by the “Congreso de Artistas Americanos (de Estados Unidos)” [American [...]ICAA Record ID: 801606 -
[Letter] 1935 Octubre 16, New York [to] Luis Arenal
1935“The Red International”—as Ramón Pi, Jr. referred to himself—describes his vehicle for distributing revolutionary words and images from his base in New York. His goal is to place his publication in the hands of professionals whose names he [...]ICAA Record ID: 801576 -
[Letter] 1936 December [to] Pollock, Sandy, Lehman
1936In this brief letter, David Alfaro Siqueiros advises Jackson Pollock and his team that the studio in New York will be closed during the day while he prepares for his forthcoming exhibition in Manhattan. Siqueiros explains that he needs to be alone to [...]ICAA Record ID: 751122 -
[Letter] 1936 Abril 4, New York [to] Leopoldo Mendez
1936In this letter, Rufino Tamayo hints at the friction experienced by an artist who put his personal goals above the demands of political activism. Tamayo promises to report on the failings of the delegation to the LEAR and apologizes for asking the [...]ICAA Record ID: 801636 -
[Letter] 1937 June 9, São Paulo, Brasil [to] Luiz da Câmara Cascudo
1937In this letter, the writer Mário de Andrade critiques the researcher Luiz da Câmara Cascudo’s articles about folklore. He notes, however, the latter’s rigorous, scientific approach to the subject. The letter mentions (though not explicitly) [...]ICAA Record ID: 1084833 -
[Letter] 1938 Abril 27, [España to] María Teresa León, [México]
1938David Alfaro Siqueiros writes a letter to Teresa León from a military command post in Spain during the Civil War, telling her of his combat experiences at the front and comparing procedures there with artistic work. He sees that in both there are [...]ICAA Record ID: 786046 -
[Letter] 1965 Junio 8, México D. F., [to] Juan Bracho, Antonio Pujol y Rufino Tamayo
1936According to the communiqué, several members of the LEAR [League of Revolutionary Writers and Artists] were scolded by the League’s Executive Committee for overextending their stay in New York and abandoning their League duties, The members were [...]ICAA Record ID: 801646 -
[Letter] Al Comité Central del Partido Comunista del Uruguay
1933While stating his unflinching loyalty to the communist cause, David Alfaro Siqueiros also provides some important autobiographical information in this letter to the Uruguayan Communist Party Central Committee. He talks about being under house arrest [...]ICAA Record ID: 1238917 -
[Letter] Enero 1930, París, Francia [to] José Cuneo y Bernabé Michelena
1930In 1930, Wladimir Raykis (director of Galerie Zak in Paris) sent this letter inviting Uruguayan artists José Cúneo and Bernabé Michelena to exhibit at his exhibition venue which promoted Latin American art between the wars. The dialogue and [...]ICAA Record ID: 1233623 -
1er Salón Independiente de Artes Plásticas
1937There are basically three sections in the catalogue for the Primer Salón Independiente de Artes Plásticas: (1) Statement of principles; (2) List of participating artists; and (3) The text of the tribute to the painter Milo Beretta, mentor to young [...]ICAA Record ID: 1186701 -
3. Salão da Pro Arte = 3. Jahres-Kunstausstellung der Pro Arte
1933This text is the monthly bulletin of the Sociedade Pro Arte which includes the list for the catalogue of works presented at the III Salão da Pro Arte, a few of which it reproduces within. The following artists participated in the exhibition: Alberto [...]ICAA Record ID: 785228 -
7 pintores argentinos : exposición restrospectiva
1935The 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, [...]ICAA Record ID: 733857 -
A arte na Inglaterra
1935This is the statement of the British art critic Herbert Read, interviewed by the Brazilian artist Flávio de Carvalho. Read stresses the importance of the influence of black art on international modernism and claims that art is currently split into [...]ICAA Record ID: 1110385 -
A casa do homem do século XX
1938Flávio de Carvalho proposes that, in the twentieth century, man’s dwelling be transformed in response to a new reality. In de Carvalho’s view, man spends most of the day in the urban universe—that is his primary dwelling—and hence it should [...]ICAA Record ID: 1110345 -
A epopéa do teatro da experiencia e o bailado do deus morto
1939In 1933, the artist Flávio de Carvalho discussed the founding of the Teatro da Experiência at the premises of the CAM [Modern Artists Club] in São Paulo. Speaking from his broader experience as an architect and set designer, he sees the theater as [...]ICAA Record ID: 780339 -
A experiencia n. 2
1933Assis Chateaubriand, the businessman and owner of the newspaper chain Diários Associados, devotes the first section of his article to what he refers to as two “great deeds” performed by the visual artist and engineer Flávio de Carvalho. One of [...]ICAA Record ID: 783065 -
A morte de Ismael Nery
1934Writer Aníbal Machado published this text on the occasion of the death of Ismael Nery. He points out some aspects of the artist’s personality and work and compares his painting with foreign artists of the stature of Max Ernest and André Masson [...]ICAA Record ID: 1110380 -
A nova forma poética: uma conversa com Tristan Tzara
1935This is the transcript of a statement made by the poet Tristan Tzara when he was interviewed by Flávio de Carvalho during the latter’s trip to Europe in 1934. Tzara speaks at great length about Dadaist methods, the movement he leads, and the [...]ICAA Record ID: 1110387 -
A preface to Dehner = Prefacio a la exposición de Dehner
1937This document is a lecture was given by Puerto Rican educator Concha Meléndez at the opening of Walt Dehner’s exhibition at the Universidad de Puerto Rico (UPR). Meléndez provides biographical information about the artist, including where he [...]ICAA Record ID: 823231 -
A propósito de la Exposición de Isabel Villaseñor
1930Carlos Mérida comments that in Mexico xylography [wood engraving] has become the prevalent artistic trend of the time. He describes some characteristics of this technique, such as the use of pure contrast between light and dark. On the other hand [...]ICAA Record ID: 736784 -
A propósito del curso de "arte incaico" en la Escuela de Bellas Artes
1930The author, Antonino Espinosa Saldaña, proposes to replace the course name “Arte incaico” [Incan Art]—used by the ENBA beginning in 1930, with “Arqueología pre-incaica y su aplicación a las artes decorativas” [pre-Incan archeology and [...]ICAA Record ID: 1143553 -
A propósito del curso de "arte incaico" en la Escuela de Bellas Artes
1930The author, Augusto Aguirre Morales, questions the stance of painter Antonino Espinosa Saldaña, who does not believe Peruvian precolonial art is “art.” He challenges Espinosa’s premise that cultural differences among men are an obstacle to the [...]ICAA Record ID: 1143570 -
A propósito del curso de arte incaico en la Escuela de Bellas Artes : carta abierta
1930Painter Antonino Espinosa opens this letter questioning the pertinence of the “Arte incaico” [Incan Art] course at the ENBA—to be offered by writer Augusto Aguirre, author of the novel El pueblo del sol [The People of the Sun]—arguing that [...]ICAA Record ID: 1143520 -
A propósito del curso de arte incaico en la Escuela Nacional de Bellas Artes
1930The author, Augusto Aguirre Morales, (who was selected by the ENBA to teach the controversial course) defends the existence of “Incan art,” using the examples conserved in museums and the testimonials of historians. He asserts that it was the [...]ICAA Record ID: 1143537 -
A reforma da Escola de Belas Artes e o Salão Oficial deste ano
1931The synopsis in English are coming soon [...]ICAA Record ID: 1075530 -
A revolução e as Belas Artes
1931The writer and poet Manuel Bandeira dispenses his opinions relating to the controversy stoked by attempts made by the Escola Nacional de Belas Artes (Rio de Janeiro) to reform the teachings, artistic trends, and guidelines related to its exhibitions [...]ICAA Record ID: 1110996