Un lugar en la historia : tomas de posición a través de un cuadro-manifiesto
Fecha
2005
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Editor
UNR Editora
Resumen
El siguiente trabajo aborda el estudio de una obra particularmente singular producida en 1930 por el pintor rosarino Augusto Schiavoni (1893-1942).
A través del análisis de Con los pintores amigos podemos leer un conjunto de tradiciones del arte occidental que el autor visita, resignifica e interpreta. Nos referimos al género del retrato de grupo, al que pertenecen un selecto conjunto de pinturas que hemos denominado "cuadros acertijo", y al autorretrato presente en los cuadros-manifiesto.
Interpretamos que el artista puso en juego allí, al menos, una doble operación. Por un lado, la representación del "lugar" deseado para sí junto a sus pares y amigos ya consagrados en el campo artístico local y nacional. Y por otro, la realización de un resumen de sus años de pintor, donde compiló los géneros cultivados por él y donde se autorretrató de pie, con pincel en mano, junto a sus interlocutores y amigos.
This paper deals with a particularly remarkable work produced in 1930 by the painter Augusto Schiavoni, who was born in Rosario (1893-1942). Through the analysis of Con los pintores amigo we can discover some traditional elements from western art that the author examines, restates and interprets. We refer to the group portrait genre, where we can include a select collection of paintings that we called "riddle paintings"; and the self portrait used in the manifesto-paintings. We understand that here the artist acted in a twofold fashion. On the one hand, he showed which place he wished to occupy next to his peers and friends already famous in the local and national artistic field. On the other hand, he summed up his career compiling the genres he had cultivated and portraying himself standing, with a brush in his hand, next to his interlocutors and friends.
This paper deals with a particularly remarkable work produced in 1930 by the painter Augusto Schiavoni, who was born in Rosario (1893-1942). Through the analysis of Con los pintores amigo we can discover some traditional elements from western art that the author examines, restates and interprets. We refer to the group portrait genre, where we can include a select collection of paintings that we called "riddle paintings"; and the self portrait used in the manifesto-paintings. We understand that here the artist acted in a twofold fashion. On the one hand, he showed which place he wished to occupy next to his peers and friends already famous in the local and national artistic field. On the other hand, he summed up his career compiling the genres he had cultivated and portraying himself standing, with a brush in his hand, next to his interlocutors and friends.
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Artículo sometido a evaluación externa (sistema de referato)
Palabras clave
Modernidad, Tradición, Arte Argentino, Arte de Rosario, Historia regional, Modernity, Tradition, Argentian art, Art from Rosario, Regional history
Citación
Florio, Sabina. “Un lugar en la historia, Tomas de posición a través de un cuadro-manifiesto”, en La Trama de la Comunicación Vol. 10, Anuario del Departamento de Ciencias de la Comunicación. Facultad de Ciencia Política y Relaciones Internacionales, Universidad Nacional de Rosario. Rosario. Argentina. UNR Editora, 2005.