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] [...]

Written by the exhibiting group [which, by all indications, appears to the Buenos Aires movement known as Madí], the prologue to this catalogue is a manifesto of principles that briefly and superficially reviews the thematic changes that have [...]

Juan Corradini responds to the 1949 and 1950 exhibition of works by Juan Del Prete by challenging his use of poor quality paints and varnishes that he believes undermine the overall quality of the canvases. Corradini also questions the tendency of [...]

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 [...]

The text praises the exhibition organized by Francisco Llobet at Amigos del Arte [Friends of Art] with works by Jean-Louis Forain lend from Argentinean collections. Forain’s works are considered as real art, in comparison with those previously [...]

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 [...]

Julio Rinaldini criticizes the exhibition of modern artists in Amigos del Arte [Friends of Art] and maintains that it conceals a disturbing situation under a pleasant tone: modern painting is not liberty without control, he states. The critic defends [...]

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 [...]

This is a critical essay that discusses Nuevas Realidades. Arte Abstracto, concreto, no figurativo [New Realities. Abstract, Concrete, Non-Figurative Art], the exhibition that was presented at the Galería Van Riel September 12-25, 1948. The [...]

Luis Felipe Noé writes that the non-figurative work of Juan Del Prete is sustained by his inquiry into the autonomy of medium, form and color, remaining beyond the limitations of concrete and abstract art. In another section of the text, Noé [...]

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 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 [...]