The painter Carmelo de Arzadun wrote this critical review of the exhibitions held in Uruguay from 1936 to 1939, a period that was defined by effervescent creativity and a lively calendar of artistic events. The exhibition of works by French artists, De David a nuestros días, is described as a “revelation.” The reviewer also notes the efforts made by non-governmental groups and spaces to exhibit the works of Uruguayan and regional artists in Montevideo in an attempt to revitalize the local cultural environment during the period of crisis and cultural isolation brought about by the Spanish Civil War and the impending Second World War. The article lists dozens of local, regional, and French artists whose works were shown at the many exhibitions organized from 1936 to 1939. Arzadun also critiques the official juries for their mistaken selections at the Salones Nacionales, while praising the efforts made by independent institutions, and admiring the exhibition of French paintings and drawings. 

The painter Carmelo de Arzadun (1888–1968) provides a long list of artistic events that he describes as a chronicle of the exhibitions held in Uruguay from 1936 to 1939. This period actually coincided with the first three years of activities of the AIAPE (Agrupación de Intelectuales, Artistas, Periodistas y Escritores) organizations in the Río de la Plata region. It was a time that saw the politicization of intellectuals and that, in Uruguay was marked by a dictatorship and the impact of the Spanish Civil War as well as the looming specter of the Second World War. Efforts were made to strengthen relationships with artists in other parts of the region, especially those in Argentina, through the establishment of regular conferences, courses, and exhibitions. Arzadun highlights some of the solo exhibitions that took place during that time, such as those by the sculptor Bernabé Michelena (1888–1963), “the most important exhibition of sculpture ever held in Montevideo;” and the Argentinian visual artists Horacio Butler (1897–1983), Demetrio Urruchúa (1902–78), Emilio Pettorutti (1892–1971), and Antonio Berni (1905–81). Berni founded the CTI (Confederación de Trabajadores Intelectuales) in Rosario, Argentina and exhibited his work in Montevideo (1938) at the invitation of the Círculo de Bellas Artes and the Sociedad de Amigos del Arte. Ideologically inspired anti-government bonds multiplied, as did unofficial exhibition spaces, such as the Ateneo de Montevideo which, among other events, organized the exhibition in support of Republican Spain, and hosted the one organized by the AIAPE for artistic movements that were not represented at the Salón Oficial. Arzadun applauds the Comisión Municipal de Exposiciones, referring to a long list of Uruguayan artists and the Commission’s policy to take selections from exhibitions so that they might be “shown in towns and villages” throughout Uruguay.

Moving on from his positive review of the above-mentioned efforts, Arzadun critiques the performance of the Ministerio de Instrucción Pública (Ministerio de Cultura) and the National Salons, inserting himself into the public debate against the juries. He also devotes considerable space in his article to the organization of the French exhibition De David a nuestros días, which he describes as “a revelation, an extraordinary success.” It should be noted that none of these adjectives are used in the rest of the article, which underscores the fact that French culture is still held in high regard in local cultural circles.