THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE

This paper proposes an approach to the artistic and aesthetic interests of Saúl Taborda and Horacio Juárez focusing on the reading of the correspondence that both maintain in the early years of the 30s. However, although the letters will be the privileged documents of this research, they are analyse...

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Autor principal: Romano, Carolina
Formato: Artículo revista
Lenguaje:Español
Publicado: Editorial de la Facultad de Artes 2020
Materias:
autonomía-heteronomía
nueva escultura
vanguardia en Córdoba
autonomy-heteronomy
new sculpture
avant-garde in Córdoba
Acceso en línea:https://revistas.unc.edu.ar/index.php/avances/article/view/28745
Aporte de:
Avances de Universidad Nacional de Córdoba
id I10-R310-article-28745
record_format ojs
spelling I10-R310-article-287452025-04-12T18:24:27Z THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE LA SENDA DE LOS PRIMITIVOS. JUÁREZ Y TABORDA MIRAN AL PASADO PARA CONSTRUIR EL ARTE DEL FUTURO Romano, Carolina autonomía-heteronomía nueva escultura vanguardia en Córdoba autonomy-heteronomy new sculpture avant-garde in Córdoba This paper proposes an approach to the artistic and aesthetic interests of Saúl Taborda and Horacio Juárez focusing on the reading of the correspondence that both maintain in the early years of the 30s. However, although the letters will be the privileged documents of this research, they are analysed and interpreted in relation to other sources: articles and essays published by Taborda, letters to other friends sent by Juárez and the works that the sculptor performs during his scholarship in Europe. The beginning of this epistolary exchange takes place in 1930 when Juárez travel to France and ends at 1932, a few months before his return to the city. The analysis of the correspondence that they maintain tries to understand the construction of the “new sculpture” made by the sculptor and some elements of the original aesthetic proposal elaborated by Taborda. The missives between Unquillo and Paris allow us to observe the elective affinities between the two without, however, identifying certain divergences in each other’s statements. Thus the agreements and discussions that they maintain are the starting point to reflect on something that initially seems paradoxical: its returns to primitives as a privileged resource to build the art of the future. Este escrito propone una aproximación a los intereses artísticos y estéticos de Saúl Taborda y Horacio Juárez, centrándose en la lectura de la correspondencia que ambos mantienen en los primeros años de la década del 30. Las cartas de ese diálogo serán los documentos privilegiados de esta pesquisa; no obstante, se analizan e interpretan en relación con otras fuentes: artículos y ensayos publicados por Taborda, cartas a otros destinatarios enviadas por Juárez y las obras que el escultor realiza durante su beca en el extranjero. El comienzo de ese intercambio epistolar se produce en 1930, cuando Juárez parte a Europa financiado por una beca de formación que le otorga el Gobierno de la Provincia de Córdoba y finaliza a fines de 1932, unos meses antes de su regreso a la ciudad. El análisis del intercambio epistolar que sostienen intenta iluminar tanto la construcción de la “nueva escultura” realizada por el escultor, como algunos elementos de la original propuesta estética elaborada por Taborda. Las misivas entre Unquillo y París permiten observar las afinidades electivas entre ambos sin dejar, no obstante, de identificar ciertas divergencias en los planteos de cada uno. Así, los acuerdos y discusiones que mantienen son el punto de partida para reflexionar sobre algo que inicialmente parece paradojal: sus miradas hacia los primitivos como un retorno privilegiado para construir el arte del futuro. Editorial de la Facultad de Artes 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-Blind Peer Review Paper Artículo revisados por pares (doble ciego) application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/avances/article/view/28745 Avances; Núm. 29 (2020); 233-248 2718-6555 1667-927X spa https://revistas.unc.edu.ar/index.php/avances/article/view/28745/30117 https://revistas.unc.edu.ar/index.php/avances/article/view/28745/30118 https://revistas.unc.edu.ar/index.php/avances/article/view/28745/30119 Derechos de autor 2020 Mgter. Carolina Romano https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-310
container_title_str Avances
language Español
format Artículo revista
topic autonomía-heteronomía
nueva escultura
vanguardia en Córdoba
autonomy-heteronomy
new sculpture
avant-garde in Córdoba
spellingShingle autonomía-heteronomía
nueva escultura
vanguardia en Córdoba
autonomy-heteronomy
new sculpture
avant-garde in Córdoba
Romano, Carolina
THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
topic_facet autonomía-heteronomía
nueva escultura
vanguardia en Córdoba
autonomy-heteronomy
new sculpture
avant-garde in Córdoba
author Romano, Carolina
author_facet Romano, Carolina
author_sort Romano, Carolina
title THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
title_short THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
title_full THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
title_fullStr THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
title_full_unstemmed THE PRIMITIVES’ PATH. JUÁREZ AND TABORDA LOOK AT THE PAST TO BUILD THE ART OF THE FUTURE
title_sort primitives’ path. juárez and taborda look at the past to build the art of the future
description This paper proposes an approach to the artistic and aesthetic interests of Saúl Taborda and Horacio Juárez focusing on the reading of the correspondence that both maintain in the early years of the 30s. However, although the letters will be the privileged documents of this research, they are analysed and interpreted in relation to other sources: articles and essays published by Taborda, letters to other friends sent by Juárez and the works that the sculptor performs during his scholarship in Europe. The beginning of this epistolary exchange takes place in 1930 when Juárez travel to France and ends at 1932, a few months before his return to the city. The analysis of the correspondence that they maintain tries to understand the construction of the “new sculpture” made by the sculptor and some elements of the original aesthetic proposal elaborated by Taborda. The missives between Unquillo and Paris allow us to observe the elective affinities between the two without, however, identifying certain divergences in each other’s statements. Thus the agreements and discussions that they maintain are the starting point to reflect on something that initially seems paradoxical: its returns to primitives as a privileged resource to build the art of the future.
publisher Editorial de la Facultad de Artes
publishDate 2020
url https://revistas.unc.edu.ar/index.php/avances/article/view/28745
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AT romanocarolina primitivespathjuarezandtabordalookatthepasttobuildtheartofthefuture
first_indexed 2024-09-03T20:28:37Z
last_indexed 2025-05-10T05:09:02Z
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