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held truly comparable ideas to those exposed in Arturo or in the early exhibitions of the
Concrete and Madí artists. Exhibition reviews show that the most successful Argentine artists from this period worked in styles which may be categorized as classical and academic; picturesque and romantic; and expressionist." For a description of the magazine, the cover was an engraving by Tomás Maldonado and in the inner pages were seen several pieces by this artist and by Lidy Prati as well. There also were essays and poems by Edgard Bailey, Gyula Kosice, Torres-García,
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frames to encapsulate their works. In 1946, both groups publicly announced their separations and different agendas through their manifestos. For the AACI, Maldonado read the "Manifiesto
Invencionista" (Inventionist Manifesto) in March 1946 at their first exhibition in the Salón Peuser. The Madí read their Manifiesto Madí (Madí Manifesto) altogether at the Instituto Francés de Estudios Superiores in August 1946. Most of the art created by both groups was during the rule of the Argentine president
114:. In 1936, Torres-Garcia had already referred to invention, speaking about those movements that put new art styles to use, such as Impressionism or Cubism. From Torres-Garcia, came the entirety of the Concrete art movement. Maldonado had a noticeable impact on the AACI because of his restraints he put on the artists and artworks. His political views seemed to influence his views on artwork. Maldonado was a
214:, two similar Argentine artistic groups emerged. These aforementioned groups both believed in the artistic style of Concrete art, however, their perspectives of this type of artwork differed. The Madí's members worked in various ways; they often distributed small posters and pamphlets in the streets of Buenos Aires. They also published the magazine
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in 1946 that consists of three different shapes made of wood, colored with oil paint and connected by a metal rod behind each of the shapes. The style used makes an appearance to the viewer that the geometric objects float in front of the wall behind them. Melé often experimented with various frames,
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is historically found to be a crucial influence on the art of Prati and connections are often made about this piece and his works. This artwork shows a theme of systematic geometric abstraction which can be interpreted through the various red, white, and black rectangles or squares spaced equally far
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The aforementioned magazine was the first work by the members of the AACI before they were officially together as a group. The concepts “invention” and “trimmed frame” are used to portray the movement of
Concrete Art. These terms originated with the issuing of the Arturo magazine, and are perhaps the
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Another oil on canvas painting by
Maldonado that exhibits different sized triangles along with several intersecting black lines coming down the canvas. It is currently being held at the Museum of Modern Art in New York. The piece demonstrates geometric abstraction and follows the strict regiments of
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who had certain utopian ambitions for the art created by the AACI in a new revolutionary societal movement in Latin
America. The political views demonstrated by AACI members were often communistic and somewhat socialistic as well. While simultaneously following the purist aesthetics of artists such
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in
February 1946. Perón's extremely authoritarian rule many called "Fascist" used means of mass propaganda, mass appeal, and outright oppressive measures to remain in control of Argentina until 1955. Scholars suggest the political climate of the Peronian era had a direct influence on both the AACI
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first article. He rose against
Expressionism, Surrealism, and any form of Realism in his works. This is a common theme among the group and among concrete artists as a whole. Regarding the appearance of Arturo, Ana J. Pozzi-Harris writes, "In the Argentina of the early 1940s, no artist or movement
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depicts multiple colored and black lines of different width meeting near the center of the piece to form a rectangular shape. This piece was created in 1950 and is currently being held in the
National Museum of Fine Arts in Argentina. Regarding the painting, author María Amalia Garcia describes,
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from 1947 to 1954 and organized art showings that mixed types visual art, poetry, music, and performance to create an encapsulating
Concrete Art experience. Their art emphasized materials and the reality of these materials, often changing the conventional frame for strangely shaped canvases and
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and
Reconstruction. Artists from the AACI proposed, for the first time in the history of Argentina, the necessity for an art that was different from symbolic, representational, and expressionistic art. They believed that their artwork, or "inventions" could harbor social change in their current
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These guidelines for Concrete Art truly united all of the contributor's when creating their artworks for Arturo. Their similar beliefs led to a criticism of all art that could be interpreted, the AACI wanted to have their works be viewed with simplicity and with no forms of interpretation.
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2) The work of art must be conceived and entirely shaped by the spirit before its execution. It must not receive anything from the given shapes of nature, neither from sensuality, nor from sentimentality. We want to exclude lyricism, drama, symbolism,
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was the beginning of a distinct revolutionary period in Argentine art. The magazine expressed the founders' shared opposition of representational and symbolic art. However, from the magazine, two artistic groups emerged.
69:. The creation of the AACI happened because of a difference in artistic beliefs. Maldonado and Prati were married during this time period, despite being in the same artistic group and movement. In 1944, Maldonado,
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Argentine political climate. The founders of the AACI showed similar themes throughout their artworks, such as a desire to appear with universality, objectivity, and lack any sort of representativeness.
127:. The art group rapidly began making waves among the art world and by 1946, Prati and Maldonado had attracted the interest of one of the original practicing concrete artists in Switzerland,
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3) The picture must be entirely built with purely plastic elements, that is to say, planes and colors. A pictorial element has no other significance but that of “itself”.
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is based on neo-plastic postulates that seek to exalt the white surface by way of tension generated between different elements inscribed on that support."
162:, Kandinsky, Mondrian and Rothfuss. An important influence that can be seen in the magazine is from the Dutch artist Theo Van Doesburg. He formulated in “
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The formation of the Asociación Arte Concreto-Invención officially happened in 1945. The creators of this organization were primarily
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apart from one another in a grid format. This style of equidistant geometric shapes was often seen from various artists in the AACI.
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simultaneously shows the core values of the AACI in its universality and lacking of any symbolism or representational effect.
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4) The construction of the picture, as well as that of its elements, must be simple and visually controllable.
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and the Madí. Both parties attempted to use their Communist influence to combat the Perón agenda.
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most original contributions to the Concrete Art movement. Arden Quin discussed about invention in
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backgrounds, and colors. His distinct artistic format is easily recognizable in this piece.
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456:"Asociación Arte Concreto-Invención (Concrete-Invention Art Association) – Art Term | Tate"
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5) The technique must be mechanical, that is to say, exact, anti-impressionist.
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166:”, in Paris, April 1930. Van Doesburg described concrete art by stating,
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MARGINAL DISRUPTIONS: CONCRETE AND MADÍ ART IN ARGENTINA, 1940-1955
354:. Austin, Texas: The University of Texas at Austin. pp. 1–12.
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produced the first and only issue of the illustrated magazine
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any artwork that is considered to be related to the AACI.
495:"Lidy Prati Made 1970s Art ... in 1948 | artnet News"
20:(AACI) is an Argentine art movement that focuses on
483:. Buenos Aires: Fundacion Proa. pp. 68–69.
550:"Composition (Composición) - Maldonado, Tomás"
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431:"Concrete Art in Argentina. History 3"
318:"Concrete Art in Argentina. History 4"
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197:6) Endeavor for absolute clearness.”
18:Asociación Arte Concreto-Invención
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400:"Concrete Invention | art group"
366:"Art & Art MALDONADO Tomás"
278:This oil on canvas painting by
164:Basis of the Concrete painting
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154:, and projects reproduced by
524:www.artandartcollection.com
479:Battiti, Florencia (2002).
370:www.artandartcollection.com
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520:"Art & Art MELÉ Juan"
292:Development of a Triangle
210:From the publication of
404:Encyclopedia Britannica
110:came from the works of
554:www.bellasartes.gob.ar
481:Argentine Abstract Art
225:President of Argentina
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171:"1) Art is universal.
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112:Joaquín Torres-Garcia
85:. The appearance of
260:An artwork made by
216:Arte Madí Universal
238:Serial Composition
221:Juan Domingo Perón
79:Carmelo Arden Quin
77:, Lidy Prati, and
232:Selected Artworks
206:Madí and the AACI
158:, Torres-García,
125:Theo van Doesburg
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24:. Following
22:Concrete Art
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499:artnet News
435:cvaa.com.ar
322:cvaa.com.ar
285:Composición
274:Composition
574:Categories
559:2017-12-06
534:2017-12-06
505:2017-12-06
465:2017-11-17
440:2017-12-01
409:2017-11-17
380:2017-11-15
327:2017-12-06
301:References
244:Lidy Prati
102:Influences
96:Arden Quin
92:Grupo Madi
59:Enio Lommi
55:Raúl Lozza
47:Lidy Prati
262:Juan Melé
94:, led by
67:Juan Melé
37:Formation
30:Socialism
143:Arturo’s
129:Max Bill
116:Marxist
454:Tate.
212:Arturo
87:Arturo
83:Arturo
65:, and
460:Tate
177:etc.
150:and
123:and
26:WWII
16:The
119:as
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