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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Editorial de la Facultad de Artes
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/avances/article/view/45516 |
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| Sumario: | 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. |
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