Documents of Latin American and Latino Art

In 1943, an exhibition consisting of twenty-two Argentinean artists organized by the Argentinean art critic Jorge Romero Brest and sponsored by the Comisión Nacional de Bellas Artes de la Argentina [National Commission of Fine Arts of Argentina] [...]

In the framework of celebrations marking the first century of Uruguayan Independence (1930− 1931), the Comisión Nacional del Centenario favored an exhibition consisting of modern Argentinean artists from Buenos Aires [...]

Leonardo Estarico critiques the seven artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who exhibited at Amigos del Arte [Friends of Art [...]

This essay by the Spanish writer Guillermo de Torre presents an interesting comparison between avant-garde literature and painting in Argentina. The writer describes the new painters with precise commentaries on the visual arts, as well as touching [...]

Manuel Mujica Láinez described in a poetic manner the artistic history of the Galería Bonino, inaugurated in 1951, attaching the names of artists to it as if a journey had taken place. His words were delivered at the one hundredth exhibition, which [...]

This critique emphasizes the search for Modern art undertaken by the artists at an exhibition mounted at the Asociación de los Amigos del Arte [Friends of Art Association] circa 1930); they were Antonio Berni, Lino Enea Spilimbergo,Horacio Butler [...]

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 [...]

Julio Rinaldini criticizes the leaflet with the manifesto of the Seven Artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who participated in the exhibition at [...]

The checklist of the retrospective exhibition of modern artists at Amigos del Arte [Friends of Art] in 1935. Those who participated, with important works created since the 1920s, were Aquiles Badi, Héctor Basaldúa, Antonio Berni, Horacio Butler, [...]

This satirical poem deals with the modern Argentine painters who are defenders of “arte puro” [art for art’s sake]; in other words, any artist who opposed the socially committed art promoted by the Mexican artist, David Alfaro Siqueiros [...]

Alberto Prebisch points out that given the quantity of new artists shown each time at the Salón de Primavera [Spring Salon], two sections can be distinguished. The first and most numerous is comprised of works absolutely devoid of aesthetic appeal [...]