257:. Arden Quin's father had been murdered while he was still in his mother's womb, and in his stead three of Arden Quin's uncles helped to raise the boy. From an early age, Arden Quin showed an aptitude for art, designing and selling colorful kites to classmates as early as age eleven. This initial interest was cultivated by his uncle Miguel, who himself was a painter and sculptor. Arden Quin also received rudimentary lessons in painting from a close family friend during his teenage years. During this same time, Arden Quin and his friends began to participate in political demonstrations, which would galvanize his enduring involvement in political causes.
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356:, Paraguay, three days later. Though he never found employment with the coffee company, Arden Quin's experiences in Paraguay stimulated Arden Quin's creativity, and galvanized an immensely productive year of his life. Upon returning, he would draft his first manifesto and a significant part of a long prose poem, both of which would be featured in his journal
446:, launched the MadĂ movement. The movement's main characteristics are: irregular frames, movable and displacing architecture, pan interval music composition and invented poetic propositions. MadĂ encompassed painting as well as design, sculpture, and architecture. Just as important as the art produced in the MadĂ movement was the aesthetic philosophy.
601:" (moons) referring to the nine months of gestation, which would be collectively called "forme galbée bleue". The colors of the paintings depart significantly from his typical use of colors which were "dark and clouded in tone" in the style of "European values." In "forme galbée bleue," Arden Quin used vibrant blues, yellows, and whites.
513:, producing many more works throughout lifetime. The movement continues today. In 1995, Arden Quin underscored that its lack of broad recognition has actually been the secret to its longevity and ideological consistency: "Having never been taken over by the media, MADI has been able to travel through time in total independence." Today,
536:, Nelly Esquivel, J. P. Delmonte, Maria Bresler, Abraham Linenberg, Éva Bányász, Salvador Presta, Eduardo Sabelli, Nair Oliveira, Ana Maria Bay, Muñoz Cota, Jorge Rivera, Ricardo Humbert, Alberto Scopelliti, Lisl Steiner, Aldo Prior, Isa Muchnik, Ricardo Pereyra, Alberto Hidalgo, Grete Stern, Juan Carlos Paz, and Ramon Melgar.
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art. Here Arden Quin would debut many new creations, including a set of mobiles titled "Escultura Movil
Suspendida" ("Suspended Mobile Sculpture"), a transformable wooden sculpture "Escultura Amvobile", and about half a dozen "formes galbées" pieces collectively titled "Cosmopolis", which vaguely
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manifesto to a group of critics, journalists, and others in his milieu at the French
Institute for Higher Learning in Buenos Aires. Madi's expressed purpose is to create an objective aesthetic reality through objective artistic elements. The manifesto, and indeed the movement, are rooted in Arden
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finally came to fruition in the summer of 1942. Approximately two hundred and fifty copies of the journal's first and only issue were sold in Buenos Aires. Though the journal did not send any immediate ripples through the art world, its impact is nonetheless significant. The journal was a defiant
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In 1948, after his partner SofĂa Kunst became pregnant, Arden Quin painted for her what his biographer and friend
Shelley Goodman would claim is "arguably the most beautiful and certainly the most poignant work of his entire career." In his classic "forme galbée" style, Arden Quin painted nine
364:, a series of six paintings that would be considered some of the most mysterious of his entire career. These works, heavily influenced by his trip up the river, and by a visit to the Natural Sciences Museum in Argentina, feature black oil "mask" shapes on cardboard with a single "eye" in each.
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Early in the 1940s, Arden Quin was provided the opportunity to travel upriver from Buenos Aires deep into the rain forest to seek a job opportunity with an
Argentine-Brazilian coffee company that was attempting to expand operations into neighboring Paraguay. Always eager for adventure and the
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In 1934, Arden Quin began to experiment in his uncle Miguel's workshop. After painting a cubist work, Arden Quin had the idea to "reform" the painting's rectangular shape. Taking a pair of scissors, Arden Quin began to cut pieces out of the border of his painting. This experiment would be the
559:. Some of the main characteristic concepts in Quin's work are the irregular shaped frames called "formes galbées", which are alternations of concave and convex forms mainly in wood work; "plastique blanche", which are highly polished enameled wood pieces; and "coplanals", which are series of
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In this time his incubating plans for starting his own movement compelled him to recruit potential members. At the university Arden Quin would forge a friendship with poet Edgar Bayley. On a brief trip home to
Uruguay in 1939 for an art exhibition, he would notice a young painter named
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16 March 1913 – 27 September 2010) was a
Uruguayan artist. Arden Quin’s primary focuses were painting and poetry. From a young age, Arden Quin was an ambitious and idealistic artist. Today, Arden Quin is most recognized for his co-founding of the
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break from avant-garde styles of the day. The heart of the journal and its art rested on the idea that "meaning and signification" should be rejected in favor of "pure form". If one word could encapsulate the spirit of
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movement, which began in
Argentina but ultimately became an international movement. Arden Quin’s commitment to invention, rather than replication or representation, drove his relentless pursuit of new forms and ideas.
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In 1947, the movement experienced a rift, as personal difficulties led to a divergence in the movement with Arden Quin going one direction and
Rothfuss and Kosice going the other. In 1948, Arden Quin moved to
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idea would continue to take shape as he secured the contributions of many poets and artists. In 1942, the artist took a trip to Rio de
Janeiro to continue these efforts. By the end of his visit, painter
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305:, who invited Arden Quin to visit him in his studio. Torres-GarcĂa would provide invaluable guidance and inspiration for Arden Quin, and would directly influence Arden Quin's development of
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Geometric
Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection = Abstracción Geométrica: Arte Latinoamericano en la Coloección Patricia Phelps de Cisneros
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art. For example, he dictated that Madi drawings should be characterized as "an arrangement of points and lines on a surface that creates form or a relationship of planes."
320:. Immediately, Arden Quin immersed himself in the culture of the city. As in Montevideo, he founded like-minded, motivated artists and political activists in the cafés, or
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In 1993, Arden Quin was included in the MOMA exhibit of "Latin American Artists of the twentieth Century". Several of Arden's pieces can be found at the MADI Museum in
426:, it would be "invention". The journal would ultimately provide a foundation for an entire generation of Latin American artists in the Rio de Plata area. Furthermore,
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was also foundationally concrete, emphasizing the object and colors in themselves, rather than what they are perceived to represent. As described in his manifesto,
336:. While working in a pencil factory in 1940, Arden Quin would meet a young Hungarian immigrant named Fernando Fallik, who would later be known to the art world as
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411:, his fiancée, a talented young visual artist in her own respect. At this point, Arden Quin had garnered sufficient collaborators to finalize his plans for
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is a wide, cross-medium movement encapsulating poetry, art, theater, dance, and visual arts. Arden Quin provided a guiding framework for every form of
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Museum and Gallery opened in Dallas, Texas. The permanent collection includes twenty-five of Arden Quin's works as well as pieces from eighteen other
285:, where painters and writers of the city gathered and discussed their works. In early 1935, a friend of Arden Quin invited him to a lecture at the
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provided contributions for the journal. Back in his home country, Arden Quin gathered a drawing, an essay, and two long poems from his friend
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466:'s theories of opposition, which explained how opposites remain in balance; how every thesis is balanced by an antithesis. The focus of
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is represented by artists from several countries, including France, Hungary, Uruguay, Spain, Japan, Brazil and Venezuela. In 2003, the
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beginning of a long career of artistic innovation. In the same year, Arden Quin left his family in Rivera for the Uruguayan capital of
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festival which read: "We express nothing, we represent nothing, we symbolize nothing...This work is in space and time: IT EXISTS."
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Carmelo Arden Quin, Uruguayan poet, political writer, painter, sculptor and co-founder of the international artistic movement MadĂ
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Quin's commitment to activism and politics, as well as from the artistic and ideological ideas of Torres-Garcia and the
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In 1946, before moving to Paris, Quin in collaboration with other artist and friends MartĂn Blaszko, Rhod Rothfuss, and
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Many artists have been members of this international artistic movement since the 1940s until today, including
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In 1913, Carmelo Arden Quin (born Carmelo Heriberto Alves) was born to a single mother in the border town of
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depict aerial views of urban settings. The festival also included contributions from past collaborators
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395:. At the end of the year, Arden Quin was back in Buenos Aires. There, he met the younger brother of
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forming a single piece that in some cases include moveable elements and sometimes remains static.
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Santana, RaĂşl; Romeu Ordanza, Laura; Arden Quin, SofĂa; Sagastizabal, Tencha (25 February 2014).
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during the late 1930s, he lived primarily in Montevideo, Uruguay, and also spent some time in
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Arden Quin was committed to concrete art. This is accentuated best by an invitation to the
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prospect of "money-making schemes", Arden Quin boarded a steamboat, and found himself in
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Alberro, Alexander; Cheific, Sergio; de Diego, Estrella; Gutiérrez-Guimarães, Geaninne.
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636:(Exhibition catalog) (in English and Spanish). New Haven, CT: Yale University Press.
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was created in 1934. At the age of 21, he met his mentor, the Uruguayan sculptor
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543:. Arden Quin died in Paris in 2010. After his dead, he was granted the Honour
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movement in Italy. In addition, Arden Quin found substantial inspiration from
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656:– Exhibition at the Fogg Art Museum, Cambridge, MA, 3 March-4 November 2001
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This announcement was followed by a three-day festival displaying
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Arden Quin's personal style is full of contrasting colors and
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Making the Americas modern : hemispheric art, 1910-1960
893:. Goodman, Shelley. Dallas, Texas: MADI Museum and Gallery.
806:. The Madi Museum and Gallery, Dallas, Texas, February 2005
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Park, Andrew. "Madi: A New Museum Does Dallas Proud",
281:. In Montevideo, Arden Quin frequented the cafés, or
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Carmelo Arden Quin: when art jumped out of its cage
867:"MADI Facts – The Museum of Geometric and MADI Art"
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Carmelo Arden Quin: when art jumped out of its cage
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Carmelo Arden Quin: when art jumped out of its cage
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49:. Unsourced material may be challenged and removed.
614:Arden Quin: Retrospective Exhibition 1938 - 2009
430:represents a seminal work in the development of
967:MADI Universe. Interview in MADI art periodical
889:Resnik, Dr. Salomón. “Au Delá de la Fenêtre.”
312:In 1937, Arden Quin left his home country for
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766:"JoaquĂn Torres-GarcĂa: The Arcadian Modern"
547:for his legacy in Visual Arts in Argentina.
848:: CS1 maint: location missing publisher (
743:. Dallas, Texas: MADI Museum and Gallery.
675:"Uruguayan artist Carmelo Arden Quin dies"
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109:Learn how and when to remove this message
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449:On August 3, 1946, Arden Quin read his
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1018:People from Rivera Department
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399:collaborator Edgar Bayley,
381:Maria Elena Vieira da Silva
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360:. In addition, he painted
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632:Bois, Yve-Alain (2001).
299:Universal Constructivism
233:Carmelo Heriberto Alves;
1023:Uruguayan male painters
946:Encyclopædia Britannica
147:Carmelo Heriberto Alves
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587:JoaquĂn Torres GarcĂa
580:Naturel Morte Cubiste
291:JoaquĂn Torres-GarcĂa
942:"Carmelo Arden Quin"
593:and Michael Seufor.
578:His first painting,
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43:improve this article
1008:Uruguayan sculptors
773:Columbia University
583:(Cubist Still Life)
215:co-founder of Arte
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226:Carmelo Arden Quin
175:September 27, 2010
125:Carmelo Arden Quin
643:978-0-300-08990-5
624:978-980-7582-02-5
362:Les Formes Noires
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409:Lydia Prati
982:Categories
914:30 January
876:2019-12-03
820:. London.
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263:Montevideo
245:Early life
194:Occupation
153:1913-03-16
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519:MadĂ
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