Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century

The painter, engraver and writer Carlos Giambiagi (Salto [Uruguay], 1887-Buenos Aires, 1965) spent his entire artistic and publishing career in Buenos Aires, except for a period of 27 years (from 1915 to 1942) in which he alternated residence between that city and San Ignacio, in the province of Mis...

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Autor principal: Miranda, Nicolás
Formato: Artículo revista
Lenguaje:Español
Publicado: Editorial de la Facultad de Artes 2024
Materias:
critica de arte
anarquismo
instituciones
canon
historiografía
art criticism
anarchism
institutions
historiography
Acceso en línea:https://revistas.unc.edu.ar/index.php/avances/article/view/45516
Aporte de:
Avances de Universidad Nacional de Córdoba
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spelling I10-R310-article-455162025-03-28T18:18:49Z Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century Carlos Giambiagi, crítico de arte: afinidades, posicionamientos antagónicos y relación con el campo artístico argentino en las primeras décadas del siglo XX Miranda, Nicolás critica de arte anarquismo instituciones canon historiografía art criticism anarchism institutions canon historiography The painter, engraver and writer Carlos Giambiagi (Salto [Uruguay], 1887-Buenos Aires, 1965) spent his entire artistic and publishing career in Buenos Aires, except for a period of 27 years (from 1915 to 1942) in which he alternated residence between that city and San Ignacio, in the province of Misiones. The corpus of his writings, composed of notes, diary and correspondence as well as numerous articles and essays in newspapers and magazines during the aforementioned period, display his aesthetic ideas in many cases through the exercise of art criticism. The goal of this article will be to briefly present some of these ideas, as well as to make the case that due to the particularity of the author’s enunciative stance assumed in his double role as artist and critic, Giambiagi's positions deserve a historiographical consideration not yet fully recognized among the productions of his time. To this end, Giambiagi's essayistic and journalistic work will be placed in relation to that of a group of critics, writers and artists who configure a possible canon and a frame of reference for the intellectuality devoted to art during the first decades of the twentieth century in Argentina. El pintor, grabador y escritor Carlos Giambiagi (Salto [Uruguay], 1887-Buenos Aires, 1965) transcurrió la totalidad de su carrera artística y editorial en Buenos Aires, a excepción de un período de 27 años (entre 1915 y 1942) en el que alternó residencia entre esa ciudad y San Ignacio, provincia de Misiones. El corpus de sus escritos, compuesto de notas, apuntes, diario y correspondencia así como de numerosos artículos y ensayos en diarios y revistas publicados durante el período señalado, despliega sus ideas estéticas en muchos casos a través del ejercicio de la crítica de arte. Si bien el objetivo de este trabajo será exponer brevemente algunas de estas ideas, se intentará además justificar que por la particularidad del lugar enunciativo asumido en su doble rol de artista y crítico, los posicionamientos de Giambiagi merecen una consideración historiográfica aún no completamente reconocida entre las producciones de su tiempo. Para ello la labor ensayística y periodística del autor será puesta en relación con la de un conjunto de críticos, escritores y artistas que configuran un canon posible y un marco de referencia de la intelectualidad abocada al arte durante las primeras décadas del siglo XX en Argentina. Editorial de la Facultad de Artes 2024-07-05 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/45516 Avances; Núm. 33 (2024); 333-353 2718-6555 1667-927X spa https://revistas.unc.edu.ar/index.php/avances/article/view/45516/45669 https://revistas.unc.edu.ar/index.php/avances/article/view/45516/45670 https://revistas.unc.edu.ar/index.php/avances/article/view/45516/45673 Derechos de autor 2024 Nicolás Miranda 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 critica de arte
anarquismo
instituciones
canon
historiografía
art criticism
anarchism
institutions
canon
historiography
spellingShingle critica de arte
anarquismo
instituciones
canon
historiografía
art criticism
anarchism
institutions
canon
historiography
Miranda, Nicolás
Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
topic_facet critica de arte
anarquismo
instituciones
canon
historiografía
art criticism
anarchism
institutions
canon
historiography
author Miranda, Nicolás
author_facet Miranda, Nicolás
author_sort Miranda, Nicolás
title Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
title_short Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
title_full Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
title_fullStr Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
title_full_unstemmed Carlos Giambiagi, art critic: affinities, antagonistic stances and relationship with the Argentine art field in the first decades of the 20th century
title_sort carlos giambiagi, art critic: affinities, antagonistic stances and relationship with the argentine art field in the first decades of the 20th century
description The painter, engraver and writer Carlos Giambiagi (Salto [Uruguay], 1887-Buenos Aires, 1965) spent his entire artistic and publishing career in Buenos Aires, except for a period of 27 years (from 1915 to 1942) in which he alternated residence between that city and San Ignacio, in the province of Misiones. The corpus of his writings, composed of notes, diary and correspondence as well as numerous articles and essays in newspapers and magazines during the aforementioned period, display his aesthetic ideas in many cases through the exercise of art criticism. The goal of this article will be to briefly present some of these ideas, as well as to make the case that due to the particularity of the author’s enunciative stance assumed in his double role as artist and critic, Giambiagi's positions deserve a historiographical consideration not yet fully recognized among the productions of his time. To this end, Giambiagi's essayistic and journalistic work will be placed in relation to that of a group of critics, writers and artists who configure a possible canon and a frame of reference for the intellectuality devoted to art during the first decades of the twentieth century in Argentina.
publisher Editorial de la Facultad de Artes
publishDate 2024
url https://revistas.unc.edu.ar/index.php/avances/article/view/45516
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first_indexed 2024-09-03T20:28:55Z
last_indexed 2025-05-10T05:09:26Z
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