The catalogue of the exhibition Exposición Barradas, organized by the Comisión Nacional del Centenario in Uruguay in 1930, included an essay on Artur Perucho that had already been published before by the Barcelona-based magazine Joia. The article highlights the work of Rafael Barradas and it timelessness as well as classic traits, a work created at the ending of his residency in Spain, sometime between 1926 and 1928. Perucho was one of the young Spanish art critics that was closely related to the avant-garde movement of Ultraism and was an admirer of the Uruguayan painter, illustrator, and stage designer.

The essay by the Valencian art critic, journalist, and politician Artur Perucho (1902–1956) was published in the exhibition catalogue of the Exposición Barradas that was organized in 1930 by the Comisión Nacional del Centenario in Uruguay (National Commission of the Centennial, Uruguay, 1930) accompanied by two other critical analyses. The Catalan magazine Joia published in Barcelona had previously published the essay in issue number six in 1928. Perucho collaborated with several avant-garde magazines and was also the assistant of an intellectual group that frequented the gatherings of Rafael Barradas (1890–1929) in Barcelona named El Ateneillo en L´Hospitalet de Llobregat, that were held at that time in the vicinity of the city of Barcelona, the last place of residency in Spain where the Uruguayan artist had settled between 1914 and 1928. The essay highlights the value of Barradas’s work, and characterizes him as a “timeless” artist as opposed to other artists who were “of the time.” Perucho observed the development of his work from his “barbaric and primitive creations, which the critic called his romantic period, to his current classic creations. The author had been referencing an exhibition of the artist in the nearby city of Sitges, most likely in 1928. The author pauses at the mystical work by the artist named La Anunciación stating that others compared this work to that of Fra Angelico (1395–1455) that was on exhibition at the Museo del Prado. Curiously, another reference is made about the same work years later by the Uruguayan painter José Cuneo, who, unlike Perucho, observed American remnants in the work, especially from Aztec origins. The critic, who died while in exile in Mexico in 1956, observed toward the end of his essay that the exception made by Catalonia in recognizing and considering Barradas that had made him “almost theirs” despite him having so little effect on the things relating to America. [Please refer to the ICAA digital archive for the following texts: “Rafael Barradas,” by Vicente Basso Maglio” (doc. no. 1243440) and “Barradas,” by Manuel Abril (doc. no. 1243461)].