Uruguay Arts

By | December 20, 2021

Compared to other Latin American areas in which the artistic experiences of the 20th century have often found their origin from the denunciation of social imbalances, political tensions, economic difficulties, colonialist infiltrations, Uruguayan art presented a well-defined characteristic, that of being essentially and authentically bourgeois homogeneously, in consonance with a politics of democratic dialogue, with a stable economy, with a social typology of middle class and ethnic uniformity and with a topography without harshness: ultimately, an art in correspondence with the geographical and environmental context, deeply embedded in the Uruguayan mentality. The international art movements were reworked by the Uruguayan artists according to their own measure, with a formal embellishment,

These excellent social, political and economic conditions were attacked during the period of the dictatorship (1973-85); the tensions had already begun before and the consequences dragged on with the wounds to heal, opened by persecution, disinformation, struggles and economic crises. The stability that had propitiated information and generated debate, the creative nourishment of Uruguayan art, was thus interrupted.

The imprint left by J. Torres García (see App. IV, iii, p. 777) has lost its bite in epigones that accentuate external aspects of his Constructivismo Universal, that is, low tonality, visible brushstroke, palette restricted to red, yellow, blue and black and white, evidence of the specificity of the materials, composition based on a grid obtained by measurements with the golden section; in the absence of theoretical reflection and valid comparisons, prudence prevailed, at best hermeneutics. These limits, imposed by adverse social and political conditions, are however not found in the work of some of the most important contemporary artists of the Uruguay, who have been active abroad for a long time: the sculptor G. Fonseca (b.1922), who lives in Italy and the United States, where the painter J. Alpuy (b. 1919) and the engravers A. Frasconi (b. 1919) and L. Solari (1918-1993) have also settled; the painter W. Barcala (1920-1993), who lived in Spain, also taking its nationality.

In the Uruguay informal art had a short period and was expressed in the softening of material ” suffering ”, obtained through calibrated compositions and chromatic combinations of affinity. In the work of Barcala, who was one of the initiators, the trend of this ” informal sweet ” continues to exist, expressed by means of threads, torn fabrics, pieces of wood and paper, arranged in an apparently casual way: they are works in which there are contaminations of memories of the collages of the Dadaist K. Schwitters. Even the pop art and conceptual art have passed fleetingly for Uruguay.

Among Torres García’s as yet unreported pupils is F. Matto (b. 1911), who works with elegantly assembled and painted pieces of wood. Self-taught, the engraver C. González (1905-1993) moves between a primitivism and a popular genre inspired by the great Mexican JG Posada. Born and trained in Montevideo, C. Arden Quin (b.1913) also linked his story to Argentine concrete art: the Madi movement (1946; initials formed with letters taken from his name), eliminates the rectangular frame, making him assume expanding irregular geometric shapes. The Madi movementit is international and among its initial adherents was the Uruguayan R. Rothfuss (1921-1970). We still remember E. Aroztegui (1930-1994), who brought his experience as a tapestry maker by integrating enormous designs, sometimes of anamorphosis, with embroidered grids; the sculptor W. Díaz Valdéz (b. 1932), who works on wooden objects by dissecting them, ” crumpling them ” and sometimes leaving the tool he used to carry out his work incorporated; the painter MA Battegazzore (b. 1931) who proposes citations of Torres García in the palette, in the invoice and in the orthogonal structures.

In the late 1980s, the Torres García Foundation of Montevideo opened a museum bearing the artist’s name and which has 120 works from different periods. In addition to preserving works by the master, the museum aims to disseminate and catalog his legacy. Unfortunately, his murals in Montevideo were almost all destroyed and in 1978 in a fire at the Museu de Arte Moderno in Rio de Janeiro a collection of 58 works, owned by the Museo Nacional de Artes Visuales in Montevideo, was lost. For Uruguay 2006, please check computergees.com.

The Museo Nacional de Artes Visuales (formerly Museo Nacional de Bellas Artes) was renovated starting in the 1970s, in a first phase by the Argentine architect C. Testa. The last intervention took place in 1990 with the conception of the garden, the first work in Montevideo by the Uruguayan L. Silva Delgado, active abroad. In 1994 the museum’s collection reached 4500 works, mostly by Uruguayan artists. The museum has dedicated personal rooms to Torres García, P. Figari, J. Cúneo, R. Barradas, G. Cabrera (deceased in 1990) and to other important contemporary and nineteenth-century artists, such as CF Sáez (1878-1901), which had a fleeting life, of precocious creative maturity. Trained in Rome, Sáez reacted to academicism with stained portraits, unfinished in appearance, and with backgrounds obtained by pouring liquid colors. Certain Uruguayan historiography interprets a screen he painted in Rome in 1897 as an abstract work, but the elusion of the figure could fall within the terms of the decorative language, since it is applied art. You seetable ft

Uruguay Arts