Fader, Fernando (1882–1935). The Routledge Encyclopedia of Modernism. : Taylor and Francis (original) (raw)
Related papers
Still Life, Landscape and Portrait. The Genres of Painting in Contemporary Art. Argentina and Latin America (Introduction), 2020
The intention in this thesis is to focus on the varied modes in which genres are present in the works of art, which strategies are used to show at least some of their features either by the permanence of the theme, compositional structures, formal elements, or expository components. Thus, it is intended to show that the frequent presence of different generic features in the works is what triggers questions about the reasons for such continuity and reinvention in contemporary art. Recognizing these features as a historical category enables the exploration of those conceptions and functions in which they were created to comprehend the discontinuities and alterations manifested in different sociocultural contexts as alternatives to a norm which, as such, not only could persist throughout time, but also adapt and renew when variations appeared. Hence the purpose of this work is to examine the continuities and deviations perceived in contemporary visual arts in Argentina and Latin America by means of three of the genres of painting: still life, portrait, and landscape.
MOTION: MIGRATIONS -- PROCEEDINGS OF THE 35TH WORLD CONGRESS OF ART HISTORY - Ses. 14 HOME AND HOSPITALITY, 2023
Between the end of the 19th and the beginning of the 20th century an important contingent of migrant people left Europe to go to America, mainly to find a better lifestyle. Italians represented a significant front, especially in South America. In Argentina, their growing presence in society caused particular feelings of concern. In artistic discourses, cosmopolitanism represented a danger for the formation of an “Argentine soul” and, consequently, for a national artistic language. In parallel, the country was consolidating its national system of art and it was therefore necessary to encourage European stays for artistic education through government pensions. The artists who could travel were recognized in their country, but they were foreigners living in unknown geographies where they could emerge with difficulty. “Nationality is the homeland”, wrote Arturo Reynal O’Connor about the Argentine poets and the risks of the immigration for the “Argentine race”. This paper proposes to consider the multiple dimensions (artistic, political, social) of the Argentine artistic field between the late 19th and the early 20th century focusing on some travelling artists, to discuss the feeling of belonging to a single place (coincident with their nationality). Through the case of Argentine painters and sculptors who lived in Rome, the goal is to present the networks of relations that they formed with other Ibero-American artists as a response to the marginalization that implied their status as foreigners. http://www.ciha.org/content/motion-migrations-proceedings-35th-world-congress-art-history
Materials and Techniques of Twentieth Century Argentinean Murals
Procedia Chemistry, 2013
In 1946 TAM (Taller de Arte Mural) a group of famous Argentine artists namely Castagnino, Spilimbergo, Urruchúa and Colmeiro, realized the decoration of four lunettes placed above the entrances of the Galerías Pacífico in Buenos Aires. Twenty-four samples coming from these lunettes have been analyzed by means the infrared transmission micro-spectroscopy to determine the composition of the preparation layer (mainly composed by gypsum) and the nature of binder (a drying oil), while the investigation of Raman micro-spectroscopy has allowed to identify the inorganic pigments and the synthetic organic dyes present.
Argentinean Murals: Conservation and Characterization of Pictorial Techniques
This chapter introduces the first research on Argentine mural materials. Ejercicio Plástico painted by Equipo Poligráfico (Polygraphic Team) and the Lunettes from Galerías Pacíficos painted by TAM: Taller de Arte Mural (Mural Art Workshop), these two emblematic works for Argentine art of the thirties and forties, were studied in an interdisciplinary way. The characterization was carried out from the point of view of the materials used and the execution techniques employed, and they were significant as the first investigations of this type on the Argentine mural painting. Remarkably, both artworks suffered similar trajectories: they were sectioned, dismantled and abandoned for two decades, and afterwards they were recovered, researched, restored and located in a new context. During the process of revaluation we had the opportunity to study these artworks and the data afforded us the possibility to understand the different states of conservation in which they were and at the same time helped us to increase technological knowledge in this area underexplored in Argentina.
Argentine Women Artists at the Turn of the Twentieth Century: Their Careers and Critical Fortunes
Art Journal, 2019
In this essay I will sketch a panorama of female artistic culture in Buenos Aires between 1890 and 1910. My main hypothesis is connected to the visibility of women artists in porteño culture at the turn of the last century. My goals are twofold: to recover artistic careers marginalized by the discipline and to contribute to a critical analysis of the ways in which women artists of this period entered art histories. To that end, I will focus on three tasks. First, I will delineate the characteristics assumed by the figure of the woman artist in this period, seeking to show the high degree of visibility achieved by art students and professional artists. Second, I will analyze the figure of the sculptor Lola Mora (1866–1936) in the context of the creation of a mythical heroine while other women artists of her generation were rendered invisible. Finally, I will contrast the commonplaces by which national artistic literature has sought to understand women artists with an examination of a chosen group of careers, works, and significant episodes, which help to imagine new roles for women artists of the past. Analysis of the modes of inclusion and exclusion of women artists in histories of art contributes to dismantling the stereotypes with which the discipline has understood and pigeonholed female production.
Luis Felipe Noé. The Painter as Writer
The writings of Luis Felipe Noé, from the mid-'50s to the present day, form a torrent as vast, broad and fast-flowing as his artistic output. Theoretician, provocateur, art critic, author of forewords, narrator, thinker; the painter meets up, relates, and enters into dialogue, with his other – and contradictory other – egos. “I feel like a bus full of people fighting with each other,” he notes in the epilogue to Cuaderno de Bitácora.