French poet Louis Aragon begins this text by establishing a comparison between the wood of the quebracho tree and the peasants; he describes their physical characteristics and their living conditions. Aragon points out Berni’s early relation to surrealism and analyzes the themes of his work. Although he explains new formal aspects—such as the use of color and composition in Berni’s work—Aragon states that both are subordinate to the message and to the service of man’s conscience. He also points out the contrast between the regions that Berni painted and the Europeanism of Buenos Aires.

One of the most outstanding creators in 20th century Argentina is undoubtedly the Rosario born Antonio Berni (1905-81). He studied in Europe beginning in 1925, and while living in Paris he connected with the surrealist avant-garde as well as with communism. Upon his return to Argentina, he exhibited surrealist works at the Amigos del Arte [Friends of Art] in 1932. The following year Berni joined the Equipo Polígrafo [Polygraphic Team] (organized by David Alfaro Siqueiros) that went on to create the mural Ejercicio Plástico [Visual Arts Exercise] at Don Torcuato, in the outskirts of Buenos Aires. He developed his theory of Nuevo Realismo [New Realism], art with a political and social commitment, which was based on a transcendent realism. In 1944, Berni formed the Taller de Arte Mural [Mural Art Workshop]. During the 1950s, he created paintings of the peasantry, in particular those of the northern province of Santiago del Estero, which gave rise to his Juanito Laguna series of narrative collage paintings. In 1962, the artist won the Grand Prize for Engraving and Drawing at the Venice Biennale. The following year Berni began his Ramona Montiel series. During the 1960s and 1970s—at the same time that he was continuing to produce paintings, collages and engravings—he created objects, installations and happenings; he also explored different stylistic variations of realist figuration.Berni met Louis Aragon in 1929 during his stay in Paris, during which he also connected to the surrealist movement and to communism; the French poet was a central figure in both movements (in overt opposition to André Breton). It is interesting to note that in 1955, during Berni’s brief stay in Paris, Aragon wrote a preface for his exhibition catalog; this demonstrates the enduring nature of their political and aesthetic relationship.In the exhibition Berni presented paintings and drawings from his series on Santiago del Estero, a northern province of Argentina; among them were his tempera paintings: Los hacheros [The Lumberjacks], La marcha de los cosecheros [The March of the Harvesters] and Escuela rural [Rural School]. His iconography of the misery and exploitation of rural workers was a singular interpretation of the Communist International’s proposed program of liberation for oppressed towns and the workers’ struggle during the Cold War era. These plans had been developed during the 1930s but were not updated until the 1950s.