 El Sur del Sur The Southernmost South Cultural Identity FINE ARTS |
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FROM INDEPENDENCE TO THE 1920's |
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 As
from May Revolution (and under the influence of lines of thinking derived
from French Revolution), religious subjects, as mentioned for the colonial
period, were less present; this time, pictorial activity mainly developed
around portraits and scenes of customs. A
numerous group of foreign artists visited Argentina, living here for some
time or settling down on a permanent basis; they could capture the types
and customs of the region in their works: Emeric Essex Vidal (1791-1861),
an English naval officer, left watercolors which are a remarkable record
of the Argentine past; Carlos Enrique Pellegrini (1800-1875) arrived
after being hired as an engineer, but political reasons kept him from
carrying out the planned works, so he devoted to painting, making several
portraits, scenes of customs and vistas of the city; Adolfo D'Hastrel
(1805-1875), another naval officer, gathered drawings and watercolors
accompanied with texts in the book called Colección de vistas
y costumbres del Río de la Plata (Collection of vistas and
customs of Plata River; 1875); the lithographer César Hipólito
Bacle (1790-1838) printed (1828-1838) Trajes y costumbres del Río
de la Plata (Garments and customs of the province of Buenos Aires)
in his establishment, State Lithography, with the collaboration of his
wife Andrea Macaire y Arturo Oslow, among others. Interior of the Buenos Aires Cathedral, 1830 Carlos Enrique Pellegrini. |
| Raimundo
Monvoisin (1790-1870) and Mauricio Rugendas (1802-1858) stood
out among the foreign artists of the first half of the 19th century. The
former lived in Buenos Aires and then went to Chile, painting Gaucho
Federal and La porteña del templo (Porteña in
Church). The latter visited Brazil, Mexico, Peru, Bolivia and Chile; we
owe him Desembarco de pasajeros en Buenos Aires (Passengers disembarking
in Buenos Aires) and Portrait of Mariquita Sánchez de Mendivillie.
La Porteña en el Templo (Porteña in Church)Raimundo Monvoisin. |
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It
is also worth mentioning two Argentine artists: Carlos Morel (1813-1894),
who collected his lithographs dealing with scenes of customs in Usos
y costumbres del Río de la Plata (Usages and Customs of Plata
River; 1844-1845), he painted portraits and recorded customs of the time,
as in Payada de la pulpería and Combate de caballería
en la época de Rosas (Cavalry Combat in Rosas's Times);
Prilidiano Pueyrredón (1823-1873), an architect, engineer
and urbanist who was one of the most remarkable Argentine painters of
19th century; he sought to perpetuate the traditions of our land and the
old customs of the Great Village. Carga de Caballería del Ejército Federal (Cavalry charge of the Federal Army). Morel Carlos. |
| Among his works are Portrait of Manuelita Rosas, Un alto en el campo (A Halt in the Countryside) and El baño (The Bath), a nude which was too daring for the time. |
 Un alto en el campo (A Halt in the Countryside). Prilidiano Pueyrredón.
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| María Teresa Constantin |
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