561:). I am master of a script that nobody yet reads. I am creator of a technique, of a musical grafĂa that allows the piano to be studied in a third of the usual time that it takes today. I am director of a theatre that as yet has not begun working. I am creator of a universal language called panlingua based on numbers and astrology that will help people know each other better. I am creator of twelve painting techniques, some of them surrealist, and others that transpose a sensory, emotional world on to canvas, and that will produce in those that listen a Chopin suite, a Wagnerian prelude, or a stanza sung by Beniamino Gigli. I am the creator, and this is what most interests me at the moment, apart from the exhibition of painting that I am preparing, of a language that is desperately needed by Latin America."
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ascendant nature as well as with the possibility of descent. The single figure in the bottom corner suggests a hermetic existence, a difficult spiritual path that is mirrored in the steep staircases. The figure holds a book in one hand and what appears to be a lantern in the other, representing study and guidance. Xul tells his viewer that while spiritual pursuit can be arduous, others have established a path, and they point the way. A structure appears atop one mountain, ostensibly a temple. None of the ladders lead directly to the mountain peak, however. The path twists and turns, and the doors cut into the mountainsides represent the stages, and possible moments of being waylaid, as one endeavors spiritually.
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reincarnation, representing a break from traditional
Catholic ideas of life and death, and demonstrating the investigation into disparate spiritualities which would continue for the rest of Xul's life. As the figures recede in the painting, Xul reduces them to geometric shapes. The forms cease to be recognizable as beings, and then are transformed into what can be a tomb, or portal. That all the mourners are of the same color as the temple indicates that they, just like the deceased, will make the same transition someday.
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established the
FundaciĂłn Pan Klub, based on the original precepts set by Xul during his lifetime. This foundation established the Museo Xul Solar in 1993, in a building whose design was based on Xul's work. The museum exhibits works that Xul selected for the Pan Klub, as well as houses objects, sculptures, and the documents compiling his personal archive. The foundation also preserves Xul's home, where his extensive library is located.
569:"Although this is a time when art is more individual and arbitrary than ever, it would be a mistake to call it anarchic. In spite of so much confusion, there exists a well-defined tendency toward simplicity of means, toward clear and solid architecture, toward the pure plastic sense that protects and accents abstract meanings of line, mass, and color, all within a complete liberty of subject and composition…
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from his own imagination. His early artistic output seems to represent the profusion of ideas and themes that grew out of Xul's contemplations. The flat shapes and bold colors used in the painting demonstrate a Cubist influence. The faces of the figures, particularly the eyes and shapes of heads can be seen as owing to the fashion for art and artifacts from Africa and the
Americas mentioned above.
315:, 1971), wrote, "It is not easy for the human spirit to elevate itself from astrology to astronomy, but we would be making a mistake if we forget that an authentic astrologer, like Xul Solar, is close to the source of the stars... The primitivism of Xul Solar is anterior to the appearance of the Gods. The Gods correspond to a more evolved form of energy."
33:
140:. His mother, originally from Italy, was named Agustina Solari. He was educated in Buenos Aires, first as a musician, then as an architect (although he never completed his architectural studies). After working as a schoolteacher and holding a series of minor jobs in the municipal bureaucracy, on 5 April 1912, he set out on the ship
460:. The shapes of the peaks are repeated by tongues of fire that point up from the bottom edge of the painting. The image strongly suggests an afterworld, but it is not clear from the image whether the environment correlates to tradition Christian understandings of heaven or hell. Xul Solar provides his viewer with a new image of an
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In 1916, Schulz Solari first signed his work "Xul Solar", ostensibly for the purposes to simplify the phonetics of his name, but an examination of the adopted name reveals that the first name is the reverse of "lux," which means "light" in Latin. Combined with "solar", the name reads as "the light of
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mathematics. He said of himself "I am maestro of a writing no one reads yet." One of his invented languages was called "Neo
Criollo", a poetic fusion of Portuguese and Spanish, which he reportedly would frequently use as a spoken language in talking to people. He also invented a "Pan Lingua", which
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Let us admit, in any case, that among us now – if mostly still hidden – are many or all of the seeds of our future art, and not in museums overseas, and not in the homes of famous foreign dealers. Let us honor the rare ones, our rebellious spirits who, like this artist, before denying others, find
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From 1943 and 1944, Xul's painting was influenced by his thoughts on the Second World War. The sudden, powerful emergence of inhumanity and the potential effects on the world at large wore very heavily on the artist. Gradowczyk posits that "Xul reached his highest point of artistic expressivity in
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suggests ancient
Chinese and Japanese prints. Narrow mountains with undulating edges stab up from placid water. Here, Xul communicates his affinity with Asian forms and, in turn, ideas. The ladders that criss-cross the mountains, are described by Gradowczyk as symbolizing spirituality, both of the
440:
After a brief experimentation with oils, Xul chose the watercolors and tempera that would become his preferred media. Instead of large-scale canvases, Xul painted on small sheets of paper, sometimes mounting his finished works on sheets of cardboard. One of his early works in what would become his
539:
In 1939, Xul initiated a project to establish a "universal club," which he called "Pan Klub" in
Neocriollo. His purpose was to create a type of salon for intellectuals and those of mutual interests, and inaugurated the club at his home. Nearly fifty years later, his widow, Micaela (Lita) Cadenas
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created a new discourse around art that was disseminated among writers and artists working toward an aesthetic modernity. Entierros firmly places Xul Solar as a member of this modernist
Argentine movement. Rather than painting subjects recognizable as Argentine, Xul's focus is internal, painting
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was published. In the essay that accompanied the publication of its anthology, several reasons are given for why the magazine was named as such. The last paragraph of the essay begins, "What should have been first remains for the last: XUL, the name of the magazine, was an homage to Xul Solar, a
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Author Mario H. Gradowczyk describes Xul at this point in his life as "a visionary rabidly opposed to the canons reigning in the Buenos Aires of his time". Like other artistically-inclined people of his generation, Xul sought to study in Europe, and settled for a time in Paris while it was an
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Two figures hold a shrouded corpse, which is also surrounded by flames. The hands of the corpse are folded, but above the corpse, a figure resembling a fetus emerges. That Xul uses a fetus instead of an image of a deceased person of typical age leads one to read the image as a depiction of
487:, while attracting Italian futurists, Russian artists, and participating in the dialogue about German Expressionism. There was also a fashion for sculpture and objects brought back to Europe by anthropologists and traders from African and Pacific Ocean colonies, as well as the Americas.
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Xul Solar's life during his twenties was marked by profound existential crisis. His writings at the time reveal a profound desire for creative expression, and a kind of angst caused by the profusion of ideas and thoughts he entertained,
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e gave himself an extraterrestrial identity by modifying his parents' surnames and becoming Xul Solar. The first name reflected light, or lux, spelled backwards; the last, his maternal surname without the 'i,' was the sun
476:"Dazzling light, colors never seen, harmonies of ecstasies and of hell, unheard-of sounds, a new beauty that is mine… If my damaging sorrows are due to labor in childbirth, I am pregnant with an immense, new world!"
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Santiago
Perednik, Jorge. "XUL: Variations on the Name of a Magazine." The XUL Reader: an Anthology of Argentine Poetry. Ed. Ernesto Livon Grossman. New York: Segue Foundation, 1996. xvii–xxiii.
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The artistic canons that
Gradowczyk refers to were propagated by the official Argentine art institutions, which favored visual representations associated with national icons. Painters like
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Bastos Kern, Maria Lucia. "The Art Field in Buenos Aires: Debates and
Artistic Practices." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 222–228.
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Solar's paintings are mainly sculptures, often using striking contrasts and bright colours, typically in relatively small formats. His visual style seems equidistant between
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the sun", and demonstrates the artist's affinity for the universal source of light and energy. His father's name "Schulz" and "Xul" are pronounced the same in Spanish.
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Schwartz, Jorge. "Let the Stars Compose Syllables: Xul and Neo-Creole." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 200–208.
276:, Uruguay, but he would not have another major European exhibition until his twilight years. In 1962, a year before his death, he had a major exposition at the
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Nelson, Daniel E. "Xul Solar's San Signos: the Book of Changes." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 209–215.
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affirmation in themselves; that instead of destroying, seek to build. Let us honor those who struggle so that the soul of our country can be more beautiful.
456:, and possibly an ancient Egyptian influence, as well. The angel-figure as well as the mourners have luminous peaks above their heads, in a re-imagining of
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The image is of a funeral procession of beings, possibly celestial, led by an angel-figure floating above the ground. The profiles of the figures suggest
1128:
Tedin, Teresa. "Biographical and Artistic Chronology." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 244–251.
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Outside of Argentina, Solar may best be known for his association with Borges. In 1940, he figured as a minor character in Borges's semi-fictional "
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singularly complex individual, writer among many other things, although he was known mainly as one of the principal plastic artists of Argentina."
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on the other. He also worked in some extremely unorthodox artistic media, such as modifying pianos, including a version with three rows of keys.
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Marzio, Peter C. "The Dialectic of Xul Solar." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 187.
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230:. In 1924, his work was exhibited in Paris in a show of Latin American artists. He also struck up an acquaintance with British occultist
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who held high hopes for his discipleship, but later that year he returned to Buenos Aires, where he promptly became associated with the
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264:. He began to exhibit frequently in the galleries of Buenos Aires, notably in a 1926 exhibition of modern painters that included
199:. He also adopted the pen name of Xul Solar. The first major exhibition of his art was in 1920 in Milan, together with sculptor
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He invented two fully elaborated imaginary languages, symbols from which figure in his paintings, and was also an exponent of
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cards. His paintings reflect his religious beliefs, featuring objects such as stairs, roads and the representation of God.
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Solar, Xul. "Emilio Pettoruti." Readings in Latin American Modern Art. Ed. Patrick Frank. New Haven: Yale UP, 2004. 19–21.
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580:-Excerpted from an article written in anticipation of Emilio Pettoruti's first Buenos Aires exhibition for the magazine
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254:, with whom he was to keep an association and close friendship. It was in this group that he also met poet and novelist
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aspired to be a world language linking mathematics, music, astrology and the visual arts, an idea reminiscent of
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extolled images of pampas landscapes and rural gaucho culture. The arrival of Spanish intellectuals such as
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148:. He returned to London to meet up with his mother and aunt, with whom he traveled to Paris, Turin (again),
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During the years of the war, he struck up what was to be a lifelong friendship with Argentine artist
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Bastos Kern, Maria Lucia. "The Art Field in Buenos Aires: Debates and Artistic Practices."
112:(14 December 1887 – 9 April 1963), an Argentine painter, sculptor, writer, and inventor of
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1063:"Proyecto fachada para Elsetta (Façade Project for Elsetta) • Pérez Art Museum Miami"
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Solar had a strong interest in astrology; at least as early as 1939 he began to draw
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1131:"History." Museo Xul Solar. Fundacion Pan Klub – Museo Xul Solar. May 21, 2008 <
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449:) demonstrates the confluence of Xul's internal thoughts and external influences.
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During the years that followed he continued his travels, extending his orbit to
187:. Also around that time, he began to pay more attention to painting, first with
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Vicuña, Cecilia (1 February 2004). "Co ecos Astri: Xul Solar of Buenos Aires".
350:". Indeed, games were a particular interest of his, including his own invented
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these ascetic paintings whose theme corresponded to that anguishing reality".
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272:. Throughout the rest of his life, he exhibited regularly in Buenos Aires and
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Gradowczyk, Mario H. Alejandro Xul Solar. Buenos Aires: Ediciones ALBA, 1994.
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777:, 1915, Watercolor on paper mounted on card, Museo Xul Solar, Buenos Aires
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Ed. Ernesto Livon Grossman. New York: Segue Foundation, 1996. xvii–xxiii.
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in an essay "Xul Solar y Paul Klee" (published in the Argentine magazine
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who would immortalize him as the astrologer Schultze in his famous novel
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557:"I am a world champion of a game that nobody yet knows called panchess (
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Words Without Borders: The Online Magazine for International Literature
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Argentine painter, sculptor, writer and inventor of imaginary languages
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Santiago Perednik, Jorge "XUL: Variations on the Name of a Magazine."
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on 9 April 1963. Pettoruti published his biography five years later.
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172:; towards the end of the war he served at the Argentine consulate in
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Because the wars of independence for our America are not yet over…"
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Bach, Caleb (January–February 1994). "Stairways to the Sun".
364:"; in 1944, he illustrated a limited edition (300 copies) of
1006:. Buenos Aires: Malba – Coleccion Costantini, 2005. 222–228.
183:, then a young man living in Italy and associated with the
847:, 1954, Wood and watercolor, Museo Xul Solar, Buenos Aires
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Proyecto fachada para Elsetta (Façade Project for Elsetta)
831:, 1954, Watercolor on paper, Museo Xul Solar, Buenos Aires
825:, 1948, Watercolor on paper, Museo Xul Solar, Buenos Aires
789:, 1922, Watercolor on paper, Museo Xul Solar, Buenos Aires
783:, 1920, Watercolor on paper, Museo Xul Solar, Buenos Aires
771:, 1915, Watercolor on paper, Museo Xul Solar, Buenos Aires
765:, 1915, Watercolor on paper, Museo Xul Solar, Buenos Aires
723:, ColecciĂłn Costantini, Buenos Aires, June 17 to August 15
759:, Oil on board, c. 1914, Private collection, Buenos Aires
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From 1980 to 1996, an Argentine literary magazine named
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epicenter for avant-garde art. The city was home to the
859:, 1962, Tempera on paper, Museo Xul Solar, Buenos Aires
853:, 1961, Tempera on paper, Museo Xul Solar, Buenos Aires
819:, 1946, Tempera on paper, Museo Xul Solar, Buenos Aires
801:, 1943, Tempera on paper, Museo Xul Solar, Buenos Aires
795:, 1939, Tempera on paper, Museo Xul Solar, Buenos Aires
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about 80 reproductions from Museo Xul Solar (Spanish).
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Tedin, Teresa "Biographical and Artistic Chronology."
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Xul Solar and Jorge Luis Borges: The Art of Friendship
156:. Over the following few years, despite the onset of
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693:III Bienal Americana de Arte: Homenaje a Xul Solar
597:, Galleria Arte, Milan, November 27 to December 16
124:Oscar AgustĂn Alejandro Schulz Solari was born in
1050:The XUL Reader: An Anthology of Argentine Poetry.
602:Exposition d’Art Américain-Latin, Musée Gallièra
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376:. He and Borges had common interests in German
209:
160:, he would move among these cities, as well as
99:Expressionist, surrealist, symbolist, modernist
948:. Archived from the original on 9 October 2004
681:, Museo Nacional de Bellas Artes, Buenos Aires
667:, Museo Nacional de Bellas Artes, Buenos Aires
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753:, Oil on board, c. 1914, private collection
740:, Phoenix, AZ, September 21 to December 31.
695:, Museo Provincial de Bellas Artes, CĂłrdoba
665:Pintura y Escultura Argentina de Este Siglo
1133:http://www.xulsolar.org.ar/xulintro-i.html
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1187:Argentine people of Baltic German descent
595:Xul Solar and the sculptor Arturo Martini
518:, 1943, tempera on paper mounted on board
983:"Borges y Xul Solar: mundos imaginarios"
933:Co ecos Astri: Xul Solar of Buenos Aires
674:, GalerĂa van Riel, Sala V, Buenos Aires
639:, Amigos del Arte, Buenos Aires, October
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716:, Courtauld Institute Galleries, London
637:SalĂłn de Pintores y Escultores Modernos
372:, writing together under the pseudonym
959:
946:"Museo Xul Solar - LIBROS ILUSTRADOS"
900:. Buenos Aires: Ediciones ALBA, 1994.
736:, New York, April 18 to July 20; and
250:group"), a circle that also included
110:Oscar AgustĂn Alejandro Schulz Solari
47:Oscar AgustĂn Alejandro Schulz Solari
7:
632:, Amigos del Arte, Buenos Aires, May
1192:Argentine people of Italian descent
1095:"Xul Solar: Vanguardista esotérico"
1022:Buenos Aires: Ediciones ALBA, 1994.
1020:Xul Solar: Visiones y Revelaciones.
686:Xul Solar: ExposiciĂłn Retrospectiva
330:. He also developed his own set of
1004:Xul Solar: Visiones Y Revelaciones
721:Xul Solar: Visiones y Revelaciones
280:in Paris. He died at his house in
268:(sister of Jorge Luis Borges) and
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1093:Castro, Fernando (4 April 2012).
709:, Rachel Adler Gallery, New York
522:The severe, bleak, landscape in
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935:, (trans. Suzanne Jill Levine).
806:Pan Game and Marionette I Ching
707:Xul Solar: A Collector’s Vision
702:, GalerĂa Rubbers, Buenos Aires
646:, Amigos del Arte, Buenos Aires
625:, Amigos del Arte, Buenos Aires
623:ExposiciĂłn de Pintores Modernos
565:-From Xul Solar's own writings
1099:Literal: Latin American Voices
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1202:Constructed language creators
857:Mi Pray Per To Min Guardianjo
688:, GalerĂa Proar, Buenos Aires
660:, GalerĂa GuiĂłn, Buenos Aires
653:, GalerĂa Samos, Buenos Aires
604:, Paris, March 15 to April 15
322:. He also had an interest in
714:Xul Solar: the Architectures
278:Musée National d'Art Moderne
616:SalĂłn de los Independientes
425:, 1914, watercolor on paper
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496:Cesáreo Bernaldo de Quirós
386:Algernon Charles Swinburne
362:Tlön, Uqbar, Orbis Tertius
195:and – very occasionally —
152:, and his mother's native
1217:Artists from Buenos Aires
966:: CS1 maint: unfit URL (
326:and believed strongly in
91:Painter, sculptor, writer
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366:Un modelo para la muerte
108:was the adopted name of
1182:Argentine male painters
611:, Witcomb, Buenos Aires
136:, at that time part of
1067:PĂ©rez Art Museum Miami
839:PĂ©rez Art Museum Miami
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1146:ColecciĂłn Permanente
811:Museum of Modern Art
679:Homenaje a Xul Solar
588:Selected exhibitions
504:José Ortega y Gasset
354:, or more precisely
300:on the one hand and
1038:. Xul Solar Museum.
492:Carlos P. Ripamonte
370:Adolfo Bioy Casares
320:astrological charts
114:imaginary languages
1177:Argentine painters
981:Isela M. Verdugo.
738:Phoenix Art Museum
609:Primer SalĂłn Libre
584:, October 9, 1924
441:signature format,
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394:Eastern philosophy
382:Emanuel Swedenborg
288:Work and interests
454:Pre-Columbian art
294:Wassily Kandinsky
256:Leopoldo Marechal
252:Jorge Luis Borges
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1084:Bibliography
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356:"non-chess".
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302:Marc Chagall
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266:Norah Borges
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178:
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126:San Fernando
123:
109:
105:
104:
74:(1963-04-09)
72:9 April 1963
61:San Fernando
18:
1212:1963 deaths
1207:1887 births
1072:8 September
952:29 February
246:" (a.k.a. "
240:avant garde
236:Leah Hirsig
158:World War I
82:, Argentina
63:, Argentina
1171:Categories
1107:(Spanish).
918:(1): 6–13.
864:References
559:Panajedrez
339:duodecimal
274:Montevideo
217:Caleb Bach
189:watercolor
53:1887-12-14
1152:Biography
1036:"History"
898:Xul Solar
829:Pan Arbol
813:(c. 1945)
763:Dos Anjos
700:Xul Solar
672:Xul Solar
658:Xul Solar
651:Xul Solar
644:Xul Solar
630:Xul Solar
462:afterlife
307:The poet
298:Paul Klee
185:futurists
166:Marseille
120:Biography
106:Xul Solar
37:Xul Solar
25:Xul Solar
962:cite web
912:Americas
837:, 1954.
769:Entierro
443:Entierro
434:Entierro
423:Entierro
412:Entierro
400:and the
398:Buddhism
324:Buddhism
215:—
170:Florence
96:Movement
809:at the
726:2013 –
719:2005 –
712:1994 –
705:1993 –
698:1978 –
691:1966 –
684:1965 –
677:1963 –
670:1953 –
663:1952 –
656:1951 –
649:1949 –
642:1940 –
635:1930 –
628:1929 –
621:1926 –
614:1925 –
607:1924 –
600:1924 –
593:1920 –
485:Cubists
403:I Ching
228:Hamburg
212:itself.
193:tempera
851:GrafĂa
799:Fiordo
552:Quotes
535:Legacy
524:Fiordo
516:Fiordo
498:, and
447:Burial
416:Fiordo
392:, and
224:Munich
168:, and
154:Zoagli
1135:>.
458:halos
332:tarot
282:Tigre
174:Milan
162:Tours
150:Genoa
146:Turin
80:Tigre
1074:2023
968:link
954:2004
845:Cruz
506:and
414:and
388:and
346:'s "
313:Lyra
296:and
226:and
197:oils
134:Riga
69:Died
43:Born
545:Xul
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