Documents of Latin American and Latino Art

This article characterizes the work presented byRamón Gómez Cornet at Chandler Hall in 1922 as “personal,” in keeping with the means of understanding the “ismos imperantes” [“prevailing –isms”] of that era. At the same time, Atalaya [...]

This article by Atalaya (Alfredo Chiabra-Acosta) analyzes the visual works of Aquiles Badi, Juan Del Prete, and Emilio Pettoruti, which were exhibited at the 13th Salon of Watercolor, viewing them as the only ones worthy of mention, since they are [...]

Following an exhibition by Uruguayan painter Pedro Figari, Alfredo Chiabra-Acosta reviews the character of his pictorial production and considerations made about it by art criticism. Regarding the latter, he ponders that in view of such praise—“ [...]

In this article, Atalaya points out that of all the artists represented in the Salón Florida, only the works by Héctor Basaldúa, Nora Borges, Del Prete, and Xul Solar are worth seeing. As such, he goes on to analyze the [...]

This article analyzes the qualities of some of the artists who participated in the XVII Salón de Primavera [17th Spring Salon] (Buenos Aires, 1927); however, before it broaches the matter, the article reflects on the institutionalization of art in [...]

In this article dealing with the Salón de Primavera [Spring Salon], Alfredo Chiabra-Acosta explores different aspects of the art field: both the state and the traits of contemporary art criticism, the difference between the modern and the new art [...]

In comparison with the general art milieu of Argentina at the time, this article presents Martín Malharro as a true master—a genuine “spiritual guide” for the youth. It describes both the integrity and the sincerity of his judgment with regard [...]

This text by Atalaya praises the visual characteristics of Simoncidy’s works: sculpture, color, etc.  Nevertheless, he criticizes the artist for not going “beyond the mere concept of a painting bound by the limits of the easel frame [...]

This article by Atalaya characterizes the qualities of Agustín Riganelli’s sculpture, in particular emphasizing his command of wood sculpture. However, it also critiques the lack of innovation displayed in his works shown at the most recent [...]

This article offers a justification for the hiatus of La Campaña de Palo [The Wooden Bell], from its sixth issue of December 1925 up to its reappearance beginning precisely with this issue (September 1926). At the same time, Atalaya, the editor-in- [...]

Based on the exhibition held by painter Américo Panozzi, as well as the reception it enjoyed from the art critics, Atalaya denounces Panozzi’s methods as harmful to the development of young painters. Atalaya describes the “the frequent [...]

This article by Atalaya reflects upon a text written by Guillermo de Torre entitled “Madrid, meridiano intelectual de Hispanoamérica” [Madrid: Intellectual Meridian of the Spanish Americas], published in La Gaceta Literaria [Literary Gazette] in [...]

Alfredo Chiabra-Acosta explains the significance of the title of La Campana de Palo [The Wooden Bell] magazine, distancing it from a possible link to the poem Martín Fierro by José Hernández in which the phrase “son campanas de palo las razones [...]

In this short article, the Argentine critic, Alfredo Chiabra Acosta, questions the concept of originalidad [genuine making] in art. In his own terms, the writer ventures that originality does not stem from rarity or from something unlike anything [...]

As a result of the exhibition sponsored by the Asociación Amigos del Arte [Friends of Art Society], Atalaya (pseudonym of Alfredo Chiabra-Acosta) characterizes and highlights Juan Del Prete’s pictorial qualities, considering him to be “one of [...]

This article analyzes the prints exhibited by Adolfo Bellocq in the Sociedad Amigos del Arte [Friends of the Art Society] in Buenos Aires in 1927. It values the diversity of techniques, but at the same time warns against “the risk of losing oneself [...]

This article provides a brief definition and introduction to the magazine La Campana de Palo [The Wooden Bell], while also placing it within the artistic-literary milieu of Argentina [...]

In this article, Atalaya criticizes the results of the literary competition organized by the Sociedad Amigos del Arte [Friends of Art Society], specifically in relation to its juries. He brands them as lacking in “independence” as well as being [...]