This essay is one of several written by the painter and dramatist César Rengifo (1915–80) in defense of realism against the attacks of the abstract avant-garde. Although there were more ideas than works of art in circulation in Venezuela at the time, Rengifo attempts to show that modern art—which he identifies as formalism—is retreating in the face of the supposed imposition (brought on by postwar social changes) of a new realism that sought the betterment of mankind. Rengifo cites the example of Mexican muralism whose formulas were by then quite depleted. He trained in that movement, however, so he can see that formalism will contribute to this new realism (just as, in his opinion, happened to Rivera, Orozco, and Siqueiros). Rengifo therefore makes a distinction between that realism and nineteenth-century naturalism, which he does not hesitate to describe as “in retreat.” This article was included in his Obras Completas (Mérida: Universidad de los Andes, 1990).
To read other documents about the artist’s work, see the journalist Silvia Coronil’s interview in which Rengifo talks about the CONAC [Consejo Nacional de la Cultura] prize he was awarded, “El arte y la política vistos por César Rengifo. Entrevista exclusiva con ‘Tribuna Popular’” [doc. no. 1172426]; the essayist Jorge Nunes’ interview “César Rengifo: el retorno a las raíces” [doc. no. 1101822]; and Irma Valero’s interview “César Rengifo: ‘No hay arte sin ideología’” [doc. no. 1141917]; the essay by Pedro Beroes “Viva memoria de César Rengifo” [doc. no. 1141854], José María Salvador’s “César Rengifo. El drama humano” [doc. no. 1101982], and José Ratto Ciarlo’s “Retrospectiva de César Rengifo 1931?1974” [doc. no. 1101966]. See also Rengifo’s articles “Verdades y mentiras del abstraccionismo” [doc. no. 1065758], and “Tesis del realismo. El arte y nuestro tiempo” [doc. no. 810019].
