La figuración de síntesis en la plástica moderna de Córdoba. El caso de Horacio Álvarez lector de Romero Brest
Modern visual arts in Córdoba, in the time span between 1939 and 1945, pose an analytic problem that can be approached from multiple perspectives. The starting point of this article is the first solo exhibition of Horacio Álvarez, held in November 1944: significant connections are suggested between...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
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Centro Argentino de Investigadores de Arte
2015-12-01
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| Series: | Caiana: Revista de Historia del Arte y Cultura Visual |
| Subjects: | |
| Online Access: | http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=209&vol=7 |
| Summary: | Modern visual arts in Córdoba, in the time span between 1939 and 1945, pose an analytic problem that can be approached from multiple perspectives. The starting point of this article is the first solo exhibition of Horacio Álvarez, held in November 1944: significant connections are suggested between thematic, conceptual and formal exploration in the artworks included, and the participation of the artist in the local Association of Painters and Sculptors during the previous years to the exhibition. The study of this relation entails the inquiry into representation and self-representation of the artists as politically and ideologically engaged intellectuals. Therefore, it is considered jointly with the study of the reception of a long and detailed critique of the artistic scene in Argentina, published by Jorge Romero Brest in the beginning of 1941, confirmed to be read in Córdoba in those years. In the study case presented here, the synthetic figurative language of representation, and its local modulation, represented an anti-fascist engagement developed from the specificity of the artistic means |
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| ISSN: | 2313-9242 2313-9242 |