Luis Felipe Noé (Buenos Aires, 1933) began his training with Horacio Butler in the early-1950s. His first exhibition is in 1959. In 1961, Noé exhibits in the Galería Peuser [Peuser Gallery], Along with Ernesto Deira, Rómulo Macció, and Jorge de la Vega, Noé exhibited in 1961 at Galería Peuser: it is the presentation of Otra Figuración [Other Figuration]. The group exhibits jointly until 1965. Noé stands out for his theoretical reflection about art in contemporary society; among his central definitions is the one that considers “chaos” as a structure for an artwork. Two of his books can be highlighted: Antiestética [Antiesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An advanced colonial society] (Buenos Aires: Editorial La Flor, 1971).
In the late-1950s a substantial renewal of the visual arts takes place in Argentina; this process in art criticism updates the understanding of the different artistic languages. This document is part of a seris of art critiques written in 1956 by Noé. The reviews were published in the newspaper El Mundo [The World] (edited between 1928–67; the first with tabloid format in Argentina, and popular for its comic strips). Noe’s picorial training got started in the early-1950s in the workshop of Horacio Butler, a figurative artist belonging to the 1930s renewal launched by the so-called “grupo de París”.
The painter Castagnino is Rodolfo Castagnino, a not-so-relevant artist.
