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¡Tamayo es un hipócrita! : dice Siqueiros en una entrevista exclusiva para Hoy sobre la Bienal
1958In this interview, David Alfaro Siqueiros expressed his views on the Biennial. He began by critiquing the paintings exhibited by the United States, and warned Latin American painters against imitating hybrid ideas that made no sense, such as Tachisme [...]ICAA Record ID: 768083 -
¿Adónde va la pintura?
1945In 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 -
¿Adónde va la pintura? : Contesta Manuel O. Espinosa
1945Response given by Manuel Espinosa in the survey presented by the Contrapunto [Counterpoint] journal. In it he confronts the defenders of figuration by explaining that realist work is not that which copies, but that which asserts the material reality [...]ICAA Record ID: 730996 -
¿Adónde va la pintura? : Contesta Tomás Maldonado
1945This is Tomás Maldonado’s response to the survey conducted by Contrapunto magazine. He is sanguine, not only about the future of the visual arts — “one of the most effective lubricants for revolutionary tension” — but about the future of [...]ICAA Record ID: 731031 -
¿Arte abstracto o arte no figurativo? : [¿Agregamos algo a la pintura si decimos arte abstracto o arte no figurativo]
1952This document relates the response of Uruguayan artist Vicente Martín to the survey regarding abstract or non-figurative art, in which he states that abstract values also exist in representational painting. With regard to the future of painting, [...]ICAA Record ID: 757649 -
¿Arte abstracto o arte no figurativo? : [”Arte abstracto” es y no es un término adecuado.”]
1952This document relates the response of artist Tomás Maldonado to the survey regarding abstract or non-figurative art, in which he considers the term “abstract” to be both appropriate and inappropriate; it is appropriate when it is used to [...]ICAA Record ID: 757530 -
¿Arte abstracto o arte no figurativo? : [En su minuciosa “Respuesta a Julio E. Payró” publicada en el nº 202]
1952Manuel Mujica Láinez replies to the survey on abstract and nonfigurative art, noting his inclination to use the terms “abstract” and “concrete” interchangeably, insofar as the trend does not cease to be what it is because of the label it [...]ICAA Record ID: 762983 -
¿Arte abstracto o arte no figurativo? : [la expresión “arte abstracto” utilizada para referirse a las tendencias]
1952This document relates the response of critic Córdova Iturburu to the survey regarding abstract art or non-figurative art, in which he leans toward the expression “non-figurative art” because it permits the inclusion of not only the geometric [...]ICAA Record ID: 742825 -
¿Arte abstracto o arte no figurativo? : [no creo en la posibilidad de cambio en la actual terminología de que]
1952This document relates the response of Spanish critic Eduardo Westerdahl to the survey regarding abstract art or non-figurative art, in which he considers it opportune to carry out a revision of terms used in these cases. Westerdahl also proposes to [...]ICAA Record ID: 742858 -
¿Arte abstracto o arte no figurativo? : [opino que la palabra “abstracto”, tratándose de arte, es impropia de]
1952This document relates the response of Spanish sculptor Ángel Ferrant to the survey with regard to abstract, or non-figurative art, in which he indicates that the word “abstract” is inappropriate when it does not acknowledge a visual model. [...]ICAA Record ID: 742171 -
¿Arte abstracto o arte no figurativo? : [Prefiero el término “arte abstracto” como término generalizador y ya]
1952This document relates the response of artist Mathias Goeritz to the survey regarding abstract, or non-figurative art, in which he indicates that he prefers “abstract art” as the general and popular term, although he agrees with the possibility [...]ICAA Record ID: 742187 -
¿Arte abstracto o arte no figurativo? : [Resulta harto desagradable poner un nombre a cada cosa. Desde el bebé al]
1952This is Hans Platschek’s answer to a survey on abstract and nonfigurative art, in which he suggests that signs could be used for didactic goals. But he doesn’t agree with the terms “abstract” and “nonfigurative” because the former is art [...]ICAA Record ID: 757674 -
¿Arte abstracto o arte no figurativo? : [Sin el ánimo de disentir gratuitamente en la cuestión entablada entre Gui-”]
1952This document relates the response of artist Gyula Kosice (1924-2016), to the survey regarding abstract or non-figurative art, in which he states that Madí adopted, in principle, the name "non-figurative" because it corresponded to the nature of [...]ICAA Record ID: 742202 -
¿Arte abstracto o arte no figurativo? : [Toda denominación de una tendencia artística es convencional, sirve pa-]
1952This document relates the response of painter and sculptor Juan Del Prete to the survey regarding abstract or non-figurative art, in which he considers all such nomenclature conventional. In addition, Del Prete believes that this type of discussion [...]ICAA Record ID: 742156 -
¿Arte abstracto o arte no objetivo? : carta abierta a Guillermo de Torre
1951This document is an open letter in which Julio E. Payró declares his difference of opinion with Guillermo de Torre regarding the application of the term “abstract.” This letter responds to the concepts discussed by Torre in the catalog for the [...]ICAA Record ID: 742838 -
¿Cómo quiere que responda a Tamayo, en broma, o en serio?
1947José Clemente Orozco believed that opposition to political painting was nothing new in Mexico; it had been around since the start of the mural movement. Some painters tried to stamp out all forms of figurative or representative expression. When [...]ICAA Record ID: 755517 -
¿Está aún vigente la pintura figurativa?
1961Juan Acha examines the rationale advanced by those who, in line with the “new pictorial awareness” of the middle of the century, see greater relevance in abstract painting than in the outdated values of the figurative ideal. The main idea [...]ICAA Record ID: 1097217 -
¿Existe una pintura peruana?
1958In this article signed “J. Nahuaca”—the anagram he used as an alias—Peruvian critic Juan Acha reflects on whether or not there is a painting tradition in Peru. He discusses the current state of painting on the occasion of the Premio [...]ICAA Record ID: 1138182 -
¿Fuera del centro?: arte argentino en las colecciones venezolanas
1995The 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 [...]ICAA Record ID: 1162631 -
¿Hacia dónde va la pintura en el Perú¿? : Primer Salón de Pintura
1955The author identifies the principal characteristic of the works shown at the Primer Salón Annual de Pintura Peruana “as a strong and cohesive predilection for objectivity.” Among others, he highlights Alfredo Ruiz Rosas for his “successful [...]ICAA Record ID: 1138900 -
¿Qué es nueva música?
1951Juan Carlos Paz defines New Music and that which contributes efficacious elements and solutions and points out the importance of the rise of dodecaphony for these new proposals. He stresses that dodecaphony is responsible for the experimentation [...]ICAA Record ID: 730576 -
¿Realismo es decadencia? ¿Abstraccionismo es solo incapacidad?... y el público...¿Qué prefiere?: Tres destacados pintores y un crítico plantean una polémica / Una encuesta de Jorge Moreno Clavijo para "Lecturas dominicales"
1962This article published in the “Lecturas Dominicales” or Sunday Readings section of the Colombian newspaper El Tiempo (April 1962) evidences the polemic surrounding abstract and figurative art in Colombia at the time. In the introduction to the [...]ICAA Record ID: 1087938 -
¿Realismo o abstraccionismo? : el problema de los espacios plásticos
In this article, poet and critic Luis Vidales expresses his position on the debate surrounding abstract and figurative art, a polemic central to Colombian art at the time. First, Vidales argues that certain concepts have been poorly defined in [...]ICAA Record ID: 1087631 -
"Dentro de lo abstracto, lo mío es lo menos abstracto" dice Roda
1963In this article, published in November 1963, the Colombian journalist Gloria Valencia Diago interviews the Spanish artist Juan Antonio Roda, in connection with the exhibition of his oil painting series, Tumbas,at the Museo de Arte Moderno in Bogot [...]ICAA Record ID: 1092563 -
"Julia Codesido y Sabogal son buenos pintores" : Aquilles Ralli cree, además, que muchos sólo buscan la fama por medio de la publicidad
1951Painter Aquiles Ralli rejects the comments made by Fernando de Szyszlo that became a national scandal: “there are no painters in Peru.” He juxtaposes the work of the “good artists,” those who diligently “work in silence and never advertise [...]ICAA Record ID: 1150882 -
"La importancia de nuestra generacíon es haber puesto al día al Perú artístico"
1955This is an anonymous interview with Fernando de Szyszlo on his successful presentation at the III Salón Moncloa in Lima in 1955. The artist stated that it was the first artistic competition in which he had participated since 1951 due to his distrust [...]ICAA Record ID: 1137778 -
"Me parece que no hay otra pintura que la europea"
1952In this interview, Fernando de Szyszlo states that the only painting tradition that exists is the European tradition, under the standards that emanated from Paris in the late 19th century, to which all other schools have been assimilated. Even “ [...]ICAA Record ID: 864956 -
"polémica Espacio"
1951This text is Samuel Pérez Barreto’s response to the article by the Agrupación Espacio published as part of the debate that took shape around the polemic statements by Fernando de Szyszlo (“there are no painters in Peru”) published in La [...]ICAA Record ID: 1137916 -
"Qué arte abstracto ni que nada, el arte es esencialmente uno...": lo que debe hacer el pintor es "pintar", manifestó Sérvulo Gutiérrez
1951In this text, Sérvulo Gutiérrez asserts that any classification that entails “dividing art” is conventional and falls into pigeonholing. It is misguided since it implies taking “a part for the whole.” Sérvulo Gutiérrez questions whether [...]ICAA Record ID: 1150851 -
“Sobre la pintura de Urteaga” : disertó ayer el artista Fernando Szyszlo [sic], en el local del IAC
1955The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]ICAA Record ID: 1146131 -
[¿Arte abstracto o arte no figurativo? : En la sesión inaugural del primer congreso de la “Escuela de Altamira”]
1952This document relates the response of Spanish critic Ricardo Gullón to the survey regarding abstract art or non-figurative art, in which he points out that it might be time to revise the use of the term abstract with regard to non-figurative works [...]ICAA Record ID: 757489 -
[¿Cuán “abstracto” es el arte abstracto?]
1984In this essay, Samuel Cherson, a Cuban critic living in exile in Puerto Rico, discusses the abstract work produced by the Puerto Rican painter, Wilfred Chiesa. Cherson begins with a brief description of the abstract movement and its major exponents. [...]ICAA Record ID: 867211 -
[Abstractos]
1949Léon 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 -
[Al presentar la 6º exposición anual de ARTE NUEVO...]
1960This foreword by Aldo Pellegrini indicates the changes of direction produced in the period of five years separating the first Arte Nuevo [New Art] exhibition and this sixth show, which he characterizes as a passage from the intellectual to the vital [...]ICAA Record ID: 743085 -
[Al tratar de ubicar la presente obra de Ferruccio...]
1965Vicente Caride presents Ferruccio Polacco’s exhibition (Galería Rubbers, Buenos Aires, May 1965), emphasizing his preferences for working with the geometric embodiment of images taken from archaic civilizations. Likewise, he points out the austere [...]ICAA Record ID: 765374 -
[Ante la decadencia y espíritu negativo...]
1949Manifesto included in the catalogue of the Primera Exposición de Pintura Perceptista [First Exhibition of Perceptivist Painting] carried out in Galería Van Riel in Buenos Aires, in October of 1949. Raúl Lozza states that Perceptivism inaugurates a [...]ICAA Record ID: 731656 -
[Conocí a Hlito desde sus comienzos como militante del grupo concreto...]
1963This introductory text for works by Alfredo Hlito emphasizes how the artist expanded their sensory territory while not abandoning the notion of purely visual painting. Pellegrini also points out that Hlito’s works also divide space into planes in a [...]ICAA Record ID: 744523 -
[Desde el cubismo y futurismo hasta madi...]
1953While introducing the work of Gyula Kosice, the author refers to movements that sought to create an independent object instead of imitating or deforming one. Juan Bay identifies the difference between the works produced by members of certain [...]ICAA Record ID: 743077 -
[Durante mucho tiempo el criterio...]
1944This is an analytical essay in which Edgar Bayley affirms the autonomy of the pictorial image. Based on that opinion, widely held among his generation, he champions “invention” over symbolism, expressionism, and romanticism [...]ICAA Record ID: 730241 -
[El arte concreto constituye la culminación de un proceso estético]
1946The list of artists whose work was shown at the Arte Concreto-Invención Exhibition, held at the Sociedad Argentina de Artistas Plásticos [Argentine Society of Visual Artists], is as follows: Antonio Caraduje, Manuel Espinosa, Alfredo Hlito, Enio [...]ICAA Record ID: 731701 -
[El filisteísmo artístico, que se manifiesta hoy...]
1946This article challenges the arts teachings offered by Professor Cecilia Marcovich. In it, Hlito reproaches her not only for her reactionary revisionism but also for teaching that modern art ended with Cubism [...]ICAA Record ID: 730104 -
[El observador ha debido conformarse, a menudo, con una noción negativa del arte concreto...]
1952In this essay, Alfredo Hlito reflects on the particular features of Concrete art. He discusses the viewer’s perception of the meaning of Concrete works of art, which involve neither a process of recognizing objects nor any form of association, but [...]ICAA Record ID: 757509 -
[El orden y equilibrio constructivos inducen a un equilibrio...]
1955In this document, Gregorio Vardanega discusses the importance of space in his work. He tried to address this question in a variety of ways, such as his plaster hemispheres, called complejos espaciales [spatial complexes] and his spiraling dots in [...]ICAA Record ID: 742769 -
[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 -
[Enio Iommi]
1972In this introductory text for works by Enio Iommi, Pellegrini highlights how the artist’s sculpture broke with the traditional criteria of volume, weight and quiescence by juxtaposing spatial structure against volume. His analysis dates three [...]ICAA Record ID: 744611 -
[Esta nueva exposición del grupo de artistas no figurativos...]
1960The text by Pellegrini considers the broad diversity of expressions of this group of non-figurative artists and underscores that the advancement of this trend seems to have ousted all other artistic modalities to become the natural means of [...]ICAA Record ID: 743526 -
[Hablando de...]
In this notebook, which is one of several kept by Colombian artist Carlos Rojas, the author writes down thirty-two points essential to his art. Written like a manifesto, this particular manuscript contains ideas that Rojas considers innate to his [...]ICAA Record ID: 1089916 -
[Hay dos categorías de pintores...]
1949In this manuscript, Polish critic Casimiro Eiger, who lived in Colombia, discusses the work in the first solo exhibition of painter Marco Ospina, held at Galerías de Arte in 1949. In Eiger’s view, the merit of Ospina’s work lies in its order. [...]ICAA Record ID: 1132692 -
[Hemos recibido de Martin Blaszko la siguiente carta...]
1951Martín Blaszko’s letter refers to the importance of rhythm in the visual arts at that time, in contrast to Raúl Lozza’s opinions in support of the plane. The Perceptist artist responds that his ideas could be more clearly understood by reading [...]ICAA Record ID: 742651