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Art Argentina History Topic: Art Modern Art in Argentina The evolution of nouvelle art lines has always been a reflection of a deeper kind of evolution that is a new world conception growing and developing in society. By 1810 what was soon to become Argentina was breathing the new waves of modernity thru means of the influx of the newest trends of thought exported by the French Revolution. We can see the sub terrain impact of the influence in a critical breaking point evidenced by the fading of the seeming ever strong religious theme proper of Colonial times. In stead, there was an evident growth of pictorial activities featuring portraits and custom like scenes. In the early days of the 19th century, the flow of immigration to Argentina was nothing compared to what it would become by mid 1800; however, the southern American vice royal capital received a large number of international artists who temporarily relocated to our country. It’s interesting to see the evidence of the influence our region had on these artists and their works, for you can see how they blended with the local feel, for their works exhibit insightful scenes of every day customs and life in the River Plate. An English sailorman Emeric Essex Vidal (1791-1861), left behind when he returned to his homeland, a set of water colors with text that offer an amazing snap shot of our region’s past. Carlos Enrique Pellegrini (1800-1875), an Italian engineer who came to the River Plate to work on developing public services, ended up taking upon oil painting in the rough days of the Independent wars when all public administration was put on hold. Adolfo D'Hastrel (1805-1875), was yet another sailorman who while in Argentina developed a collection of drawings and watercolors. Cesar Hipolito Bacle (1790-1838), developed a lithography collection on outfits and customs of the province of Buenos Aires. Raimundo Monvoisin (1790-1870) and Mauricio Rugendas (1802-1858) were yet two other foreign artists who left a durable mark in our artistic history. Monvoisin who lived in Buenos Aires and latter on relocated to Chile, was the man, mind and hands behind Gaucho Federal and La porteņa en el Templo. Rugendas, on the other hand created outstanding Works such as Desembarco de pasajeros en Buenos Aires and Mariquita Sanchez de Mendivillie’s portrait. Throughout the 19th century, Argentine artists of great skills such as Carlos Morel (1813-1894) and Prilidiano Pueyrredon (1823-1873), left a perdurable mark in our history of Arts. Another turning point in the development of the Arts in Argentina would become when reaching the middle of the century. It was then when a group of young artists began to actively participate in the organization of Artistic institutions such as the Fine Art Stimulus Society, the National Museum of Fine Arts and the Academy of Fine Arts. These innovations were the result of a tight bong established between the group and the nouvelle art movements that were taking place in the old continent. Eduardo Sivori’s fine Works and style would be considered as the introductory of naturalism in Argentina, evoking eloquently the Argentine country side traditional folkways theme. Angel Della Valle took upon the challenge and followed Sivori’s style adding a true personal flavor. Reinaldo Giudice (1853-1927) and Ernesto de La Carcova (1866-1927) brought to Argentina a formal repertoire of neoclassic, romantic and naturalist elements adapting these techniques to the newly born cultural context of Argentina. The new century came together with new impulses within the local art scene. The introduction of impressionism was done by Martin Malharro (1865-1911). Malharro along with Faustino Brughetti (1877-1956), Walter de Navazio (1887-1919) and Ramon Silva (1890-1919), turned the Argentine painting history upside down, when their landscape works began to become the true star of our artistic world. Argentine specialists on the evolution of the local art scene agree in pointing the age of the 1920s as the turning point in the Argentine Arts. It was then when a true modernization of the plastic language took place. Working all together, at the same time, were Emilio Petorutti, Group of Paris, Alfredo Guttero, Xul Solar, the Artists of the People, the La Boca group among others. Them all, from a broad variety of formal and ideological angles, began to question the local state of art. They began to develop a parallel art scene apart from the official organizations and created open spaces for new artists far away from the cannon, allowing experimentation, self definitions and exploration of new aesthetic lines… The ever growing and developing art scene was a reflection of a Cultural Revolution taking place in the country. From this moment on, the arts in Argentina will evolve and revolt constantly, positioning our country in the list of culturally at the avant-garde in the international scene.