Relevant bibliographies by topics / Painting, Argentine

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Painting, Argentine'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Painting, Argentine"

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VILLARES, GABRIELA, ANTONELA MARTELLI, VIRGINIA LO RUSSO, and CATALINA PASTOR. "Three new species and one new record of Campylaimus (Diplopeltidae, Nematoda) from Argentine coasts (Buenos Aires and Santa Cruz, Argentina)." Zootaxa 3613, no. 1 (2013): 83–96. http://dx.doi.org/10.11646/zootaxa.3613.1.4.

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Two new Campylaimus species from Arroyo Pareja, Buenos Aires province and one new species and one new record of Campylaimus from Puerto San Julián, Chubut province are described. The three species are characterized by the shape of the copulatory apparatus of the male and the presence of precloacal papillae. Campylaimus bonariensis sp. nov. has slen-der and arcuate spicules, with well-developed cephalization at the proximal end, tubular gubernaculum and three preclo-acal papillae; Campylaimus arcuatus sp. nov. has curved spicules, with well-developed cephalization at the proximal end, gubernaculum with dorso-caudally directed apophysis and five precloacal papillae; Campylaimus patagonicus sp. nov. has slender and arcuate spicules without proximal cephalization, gubernaculum with dorso-caudally directed apophysis and two precloacal papillae. An emended diagnosis of the genus Campylaimus and an identification key to species based on male characters are giventhe tail-color discrepancy. Only McAtee (1942) concluded that his description could be fully accurate as written, indicating a bird closely related to, but different from, a typical King Vulture. Paralleling Bartram’s description is an apparently independent account and painting of a vulture of uncertain geo-graphic origin by Eleazar Albin (1734). Details of Albin’s description, including tail color, are very similar to those of Bartram’s description. The only discrepancies are minor differences in color of softparts and tail that seem explicable as intraspecific variation. Available evidence suggests that Bartram knew nothing of Albin’s description, and if so, Albin’s bird provides quite persuasive support for the validity of Bartram’s bird. Equally important, none of the arguments offered historically against the validity of the Painted Vulture is persuasive when examined closely. Together, these and other fac-tors make a strong case for acceptance of Bartram’s Painted Vulture as a historic resident of northern Florida and likely other adjacent regions.
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Hernan, Camarero. "The prolegomena of Trotskyism in Argentina: the emergence of left oppositionism with-in the communist camp." Latin-American Historical Almanac 29 (March 26, 2021): 79–108. http://dx.doi.org/10.32608/2305-8773-2021-29-1-79-108.

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In Argentina, towards the end of the 1920s and in the first years of the following, outbreaks of a left oppositionism emerged in the communist camp, not only in the ranks of the "official" Communist Party, but also within its different dissent. These sectors, which identified with the International Left Opposition, led by the Russian revolutionary Leon Trotsky, formed a particular stage of transition, before recognizing themselves in the assumed identity of Trotskyism, after 1933. What were the propaganda axes? of this Argentine oppositionism? What trajectories and profiles did your paintings express? How were the links with the outside and what comparison can be drawn with other countries? Why did fragmentation and the difficulty to consolidate itself as a movement continue after its precocious appearance and how did the characteristics of the communist camp affect itself? These and other questions are explored in this article
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Garay, Urbi, Gwendoline Vielma, and Edward Villalobos. "Art as an investment alternative: the case of Argentina." Academia Revista Latinoamericana de Administración 30, no. 3 (2017): 362–82. http://dx.doi.org/10.1108/arla-08-2016-0226.

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Purpose The purpose of this paper is to present the formulation of the first exhaustive price index for Argentinian (and other Latin American countries) visual artists using 5,069 works sold in auctions by 71 Argentinian artists during the years 1980-2014. Design/methodology/approach The authors estimated a regression of hedonic prices using the ordinary least squares method. When the regression was run and the results were analysed, the authors then estimated the annual price index of Argentinian artists’ work to then compare them with different financial and economic variables. Findings The average annual nominal arithmetic rate of return in dollars for Argentinian art during this period was 6.81 per cent, with a 29.11 per cent standard deviation. Argentinian art shows a low correlation with Argentinian and US companies’ shares and a slightly negative correlation with US bonds. This is the reason for artworks to be included in investors’ portfolios despite the relatively high volatility. Research limitations/implications Valuating works of art in Argentina can be explained by a series of their attributes. The benefits of art as an investment should be contrasted with factors including illiquidity and high transaction costs that are inherent when investing in works of art. Practical implications Argentinian artists’ works have higher prices when, ceteris paribus, they are dated; they are auctioned in either Christie’s, Sotheby’s, Galería Arroyo, Roldan & Cia, Meeting Art, or Naon & Cia; they are oil or acrylic paintings; they are larger in size – although the price increase is decreasing when the size of the painting increases; and when the artist dies before their work is auctioned. Originality/value This work presents the first rigorous price index of Argentinian artists’ works. Additionally, and as far as the authors have been able to observe, the time-period in this article is the longest that has been used in studies on art as an investment in emerging markets.
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De La Fuente, Guillermo A., and Juan Manuel Pérez Martínez. "Ancient potters, paintings and craft specialization in northwestern argentine region: new data through Raman characterization of pre- and postfiring ceramic paintings on Aguada Portezuelo Ceramics from Middle Period (Catamarca, Argentina)." Archaeological and Anthropological Sciences 11, no. 5 (2018): 2293–308. http://dx.doi.org/10.1007/s12520-018-0676-9.

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Buchloh, Benjamin H. D. "Photography's Exiles: from Painting, Patriarchy, and Patria." October 173 (September 2020): 3–6. http://dx.doi.org/10.1162/octo_a_00401.

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This issue is the second part of a two-part October project dealing with the photographic practices of women in Weimar culture and in exile from it. Focusing on seven crucial figures (Ellen Auerbach, Ilse Bing, Anne Fischer, Gisèle Freund, Lotte Jacobi, Germaine Krull, and Grete Stern), the essays collected here address a wide range of productive changes and destructive conflicts challenging traditional models of the photographers' social, artistic, and professional identities. Some of these changes resulted from the impact of emerging technologies (both in the infrastructural organization of everyday life and in photography's own newly evolving technologies of cameras and color) and some from the dismantling of the liberal democratic nation state either by the rise of state socialism in the Soviet Union or of fascism in Germany. When these Weimar photographers had to find refuge in France, in the United States, in South Africa, or in Argentina, they found themselves not only confronted with the demands of a rapidly advancing and controlling culture industry but also with the caesura of cultural discontinuity and the disillusioning effects of living in exile.
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Elsner, C. I., P. R. Seré, and A. R. Di Sarli. "Atmospheric Corrosion of Painted Galvanized and 55%Al-Zn Steel Sheets: Results of 12 Years of Exposure." International Journal of Corrosion 2012 (2012): 1–16. http://dx.doi.org/10.1155/2012/419640.

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Zinc or 55%Al-Zn alloy-coated steel sheets, either bare or covered by different painting systems, have been exposed for 12 years to the action of the urban atmosphere at the CIDEPINT station located in La Plata (34° 50′ South, 57° 53′, West), province of Buenos Aires, Argentina. The samples exposed surface was evaluated through periodical visual inspections, standardized adhesion tests, and electrochemical impedance measurements. The ambient variables monitored were average annual rains and temperatures, time of wetness, sulphur and chloride concentration, relative humidity, and speed and direction of the winds. It was found that in this atmosphere, the corrosion resistance of the bare 55% Al-Zn/steel sheets was higher than of the galvanized steel, and the polyurethane painting system was more protective than the alkyd and epoxy ones, which degraded after 6-7 years of exposure.
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di Lullo, Mauro. "Painting in a State of Exception: New Figuration in Argentina, 1960-1965 - by Frank, Patrick." Bulletin of Latin American Research 37, no. 3 (2018): 380–81. http://dx.doi.org/10.1111/blar.12822.

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Seldes, Alicia Marta. "A Note on the Pigments and Media in Some Spanish Colonial Paintings from Argentina." Studies in Conservation 39, no. 4 (1994): 272. http://dx.doi.org/10.2307/1506587.

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Seldes, Alicia Marta. "A note on the pigments and media in some Spanish Colonial paintings from Argentina." Studies in Conservation 39, no. 4 (1994): 272–76. http://dx.doi.org/10.1179/sic.1994.39.4.272.

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González, Cecilia. "Dialogues between art and recent history in Argentina (Ezeiza paintant by Fabian Marcaccio and the 70s trilogy by Alan Pauls)." anclajes 21, no. 1 (2017): 1–20. http://dx.doi.org/10.19137/anclajes-2017-2111.

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Dissertations / Theses on the topic "Painting, Argentine"

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Vargas, Elisa. "Surrealism and painting within the context of the Argentine avant-garde : 1921-1987." Thesis, University of Essex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306197.

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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.

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Lane, Kathryn. "Representaciones de Figuras Feministas en la Muestra Despierta!" Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/pitzer_theses/6.

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Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.
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Magnin, Lucile. ""Un épisodio en la vida del pintor viajero" de César Aira : le peintre voyageur dans l'Amérique latine du 19è siècle entre littérature, art et science." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00787085.

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Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la " physionomie de la nature ", Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire.
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Books on the topic "Painting, Argentine"

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Bitetti, Olga Ethel Cano de Di. Aporte para la historia de la pintura en Rosario, 1900-1940. Editorial Municipal de Rosario, Secretaría de Cultura y Educación, 1997.

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Bruzzone, Alberto. Amor y pintura. Casa Bruzzone, 2002.

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Bruzzone, Alberto. Amor y pintura. Casa Bruzzone, 2002.

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Izurieta, Alvaro. Alvaro Izurieta. [s.n], 2005.

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Rossi, Roberto. Homenaje a Roberto Rossi, 1896-1957: Agosto 1999, Museo Eduardo Sivori. Museo Eduardo Sivori, 1999.

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Cordero, Martha. Martha Cordero: 17 al 28 de noviembre de 1999, Centro Cultural Recoleta, Buenos Aires. Centro Cultural Recoleta, 1999.

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Chab, Víctor. Víctor Chab: Obras, 1947-2002. Aprinta, 2002.

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Chab, Víctor. Víctor Chab: Mujeres. Estudio de Víctor Chab, 1995.

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Gorriarena, Carlos. Carlos Gorriarena. Museo Nacional de Bellas Artes, 2001.

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Lazzari, Alfredo. Lazzari: (1871-1949). Centro Cultural Recoleta, 2000.

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Book chapters on the topic "Painting, Argentine"

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Frank, Patrick. "First Group Show and Journey to France, 1961–1962." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0003.

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In chapter 2, Frank considers the group's first show, its critical reception, and the artists’ journey to France shortly after the show closed. He compares Nueva Figuración with European engaged styles of figural painting, such as Un art autre, which influenced the group, at first, to name itself “Otra Figuración.” Discussing the political and sociocultural context of Nueva Figuración, Frank closely examines Ernesto Deira's artistic response to anti-Semitism and the trial of Nazi fugitive Adolph Eichmann and goes on to consider Rómulo Macció's response to the State of Siege in his painting Cárcel = Hombre (Prison = Man). He then compares the politically engaged New Figurationists with other contemporaneous Argentine artists, such as Emilio Renart and Ruben Santantonín, whose works make little reference to contemporary life and with Antonio Berni, whose social references are more explicit than those of Nueva Figuración. The chapter closes on discussion of how the group's trip to Paris pushed their styles toward greater expressive freedom.
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Frank, Patrick. "International Recognition, 1964." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0005.

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In chapter 4, Frank traces the changing styles of Noé and Macció. These two won travel awards from the Di Tella Foundation that took them to New York and Paris. Perhaps because of their absence from the disorder of Buenos Aires, the paintings of both artists evolved toward consideration of formal issues, such as the potential of flat color planes and the integrity of the surface of the work. Jorge de la Vega created the important Anamorphic Conflict series, influenced by Italian artist Enrico Baj and a response to conflicts between Argentine military factions. Frank rebuts critic Clement Greenberg’s comments about the provincialism of the Argentinian art world in 1964. (Greenberg had made a trip to Buenos Aires to judge an art competition.) Frank also discusses solo shows by Noé, de la Vega, Macció, and Deira and their participation in important exhibitions in the United States at the Guggenheim Museum and the Walker Art Center.
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Frank, Patrick. "A Further Brush with Fame in 1965." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0006.

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In chapter 5, Frank traces the spread of Nueva Figuración’s international renown, discussing the artists’ growing number of group shows and related reviews in U.S. and European magazines. Comparing it to the postmodern treatise The Anti-Aesthetic by Hal Foster, Frank examines Noé’s Antiestética, a theoretical text in which he extolled chaos as a value in art and announces his views on other dominant movements of the day such as Pop Art. Frank closes on the dissolution of Nueva Figuración: with the art scene in Argentina trending toward Pop and related styles and with Marta Minujín staging “Happenings” and proclaiming that painting was dead, the New Figurationists had one final group show in Buenos Aires and then went their separate ways.
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Frank, Patrick. "Introduction." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0001.

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The introduction defines the Nueva Figuración movement and gives an overview of the group's shifting reputation, from initial fame in Buenos Aires in the early 1960s to regional importance, limited international recognition in the middle 1960s, and subsequent decline. Frank argues for reconsideration of New Figuration as part of a wider reassessment of the worldwide cosmopolitan development of modern art. The best method for such reassessment, Frank argues, is contextual analysis because many of the Nueva Figuración artists’ works refer both directly and indirectly to contemporary events, cultural products, and sociological trends. Drawing on the work of Carl Schmitt, who first defined Nueva Figuración, and of Giorgio Agamben, who later elaborated on it, Frank describes its temporal backdrop in Argentina as a “state of exception.” The introduction closes on Frank’s summary development of the chronological organization of succeeding chapters.
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Frank, Patrick. "At the Forefront of Innovation, 1962–1963." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0004.

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In chapter 3, Frank discusses three important Nueva Figuración exhibitions. In one of these, a drawing show, the group focused on the governmental crisis that was then erupting. The military had divided into two factions in a disagreement over how to manage the Peronist movement: these factions, the Azules and Colorados, actually battled in the streets of Buenos Aires. Ernesto Deira created an important work based on Julio Cortázar’s 1960 novel Los premios (The Winners), an allegory of political chaos in Argentina of the time. Jorge de la Vega began a series of works depicting monsters of various kinds, one of them a critical commentary on developmentalism—the dominant belief set of the country's leaders. Luis Felipe Noé created Introduction to Hope, an important work that engaged many then-current issues, including Peronism, elections, and political passion.
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