This article was written in 1945, on the occasion of the first individual exhibition held in Bogotá by the Spanish master naturalized as a Colombian, Alejandro Obregón Rosés (1920−92). At the time, Obregón showed several canvases at the Biblioteca Nacional [National Library], works created in his early years, such as Bodegón de la máscara [Still Life with Mask] and Cabeza [Head]. It is significant that Ignacio Gómez Jaramillo (1910−70), one of the standard-bearers for the Indianist generation that prevailed a decade earlier, celebrated the appearance of a new art language in the Colombian art milieu. This may be seen as an interaction between two generations who took it upon themselves to close down nineteenth century art trends, thus establishing a new sensibility anchored in modernity. In this regard, the paternalistic tone with which the master advises the student is notable; the advice he gives is to follow the paths he has chosen. Also noteworthy is the writer’s prediction about Obregón’s future as an artist.
Of interest here is the polemical intention of the article. The writer vehemently condemns the predominance of criticism that is biased and overbearing. Instead, he would like to see analyses of works based on what they say, themselves, without hewing to either preconceived ideas or ideological biases. To this end, the artist quotes both the Spanish writer and art critic, Eugeni d’Ors (1881−1954) and the French philosopher, Henri Bergson. D’Ors was close to the group known as the Generation of ’27 in Spanish literature, while Bergson, in turn, inspired avant-garde [movements of artists and writers] such as Italian Futurism. Thus it can be said of the artists of that period that they called for professional, independent criticism, based more on the art language (including aestheticism) than on personal taste or political convictions.