Wildenstein in Buenos Aires or the double game of identifications and silences
Valuing and preserving the artistic heritage coming from the destruction and looting because of the Second World War in Europe is an idea which encouraged a wide number of auctions and sales of works of art in the commercial galleries of Buenos Aires during the forties. However, the discourse displa...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Historia
2017
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/RIHALC/article/view/18924 |
| Aporte de: |
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I10-R364-article-18924 |
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ojs |
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Universidad Nacional de Córdoba |
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I-10 |
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R-364 |
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Revista de la Red Intercátedras de Historia de América Latina Contemporánea |
| language |
Español |
| format |
Artículo revista |
| topic |
Art market Buenos Aires Second World War Wildenstein Mercado de arte Buenos Aires Segunda guerra mundial Wildenstein |
| spellingShingle |
Art market Buenos Aires Second World War Wildenstein Mercado de arte Buenos Aires Segunda guerra mundial Wildenstein Bermejo, Talía Wildenstein in Buenos Aires or the double game of identifications and silences |
| topic_facet |
Art market Buenos Aires Second World War Wildenstein Mercado de arte Buenos Aires Segunda guerra mundial Wildenstein |
| author |
Bermejo, Talía |
| author_facet |
Bermejo, Talía |
| author_sort |
Bermejo, Talía |
| title |
Wildenstein in Buenos Aires or the double game of identifications and silences |
| title_short |
Wildenstein in Buenos Aires or the double game of identifications and silences |
| title_full |
Wildenstein in Buenos Aires or the double game of identifications and silences |
| title_fullStr |
Wildenstein in Buenos Aires or the double game of identifications and silences |
| title_full_unstemmed |
Wildenstein in Buenos Aires or the double game of identifications and silences |
| title_sort |
wildenstein in buenos aires or the double game of identifications and silences |
| description |
Valuing and preserving the artistic heritage coming from the destruction and looting because of the Second World War in Europe is an idea which encouraged a wide number of auctions and sales of works of art in the commercial galleries of Buenos Aires during the forties. However, the discourse displayed in catalogues and press articles, which appealed to the role of collectionism in that dramatic context, contrasts with the absence of information regarding the origins of the works which could eventually be linked with the Nazi plundering. The mission of preserving the high culture and the feeling of inheriting part of the European tradition did not seem to leave room for any kind of ethical questioning among the Buenos Aires high bourgeoisie. In the context of a commercial marketing that by the middle of the 20th century showed strong competitors regarding the importance of paintings, the subsidiary of Wildenstein Gallery stood out in Buenos Aires. It has settled in the city between 1939 and 1940, with the reputation of a successful performance in Paris with subsidiaries in London and New York.The purpose is to explore certain aspects of Wildenstein’s development during its first years in the Argentinean capital. The focus is in the strategies of insertion in the commercial space as well as on those exhibition policies used to cover the demand of European painting at the same time as it contributed to encourage that double material and symbolic ownership, favored by the dispersion of the heritage. An attempt is made to analyze the role of the gallery within that double game of identifications and concealments articulated by a sector of the artistic cartography in the context of World War II and which partly persists up to the present. |
| publisher |
Facultad de Filosofía y Humanidades. Escuela de Historia |
| publishDate |
2017 |
| url |
https://revistas.unc.edu.ar/index.php/RIHALC/article/view/18924 |
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AT bermejotalia wildensteininbuenosairesorthedoublegameofidentificationsandsilences AT bermejotalia wildensteinenbuenosairesoeldoblejuegodeidentificacionesysilencios |
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2024-09-03T22:55:23Z |
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2024-09-03T22:55:23Z |
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1809217354544971776 |
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I10-R364-article-189242020-02-13T21:00:11Z Wildenstein in Buenos Aires or the double game of identifications and silences Wildenstein en Buenos Aires o el doble juego de identificaciones y silencios Bermejo, Talía Art market Buenos Aires Second World War Wildenstein Mercado de arte Buenos Aires Segunda guerra mundial Wildenstein Valuing and preserving the artistic heritage coming from the destruction and looting because of the Second World War in Europe is an idea which encouraged a wide number of auctions and sales of works of art in the commercial galleries of Buenos Aires during the forties. However, the discourse displayed in catalogues and press articles, which appealed to the role of collectionism in that dramatic context, contrasts with the absence of information regarding the origins of the works which could eventually be linked with the Nazi plundering. The mission of preserving the high culture and the feeling of inheriting part of the European tradition did not seem to leave room for any kind of ethical questioning among the Buenos Aires high bourgeoisie. In the context of a commercial marketing that by the middle of the 20th century showed strong competitors regarding the importance of paintings, the subsidiary of Wildenstein Gallery stood out in Buenos Aires. It has settled in the city between 1939 and 1940, with the reputation of a successful performance in Paris with subsidiaries in London and New York.The purpose is to explore certain aspects of Wildenstein’s development during its first years in the Argentinean capital. The focus is in the strategies of insertion in the commercial space as well as on those exhibition policies used to cover the demand of European painting at the same time as it contributed to encourage that double material and symbolic ownership, favored by the dispersion of the heritage. An attempt is made to analyze the role of the gallery within that double game of identifications and concealments articulated by a sector of the artistic cartography in the context of World War II and which partly persists up to the present. Valorar y preservar el patrimonio artístico proveniente de la destrucción y el saqueo como consecuencia de la Segunda Guerra en Europa es una idea que alentó numerosas subastas y ventas de obras de arte en las galerías comerciales de Buenos Aires durante los años cuarenta. No obstante, los discursos desplegados en catálogos y artículos de prensa que apelaban al papel del coleccionismo en ese dramático contexto contrastan con la ausencia de información respecto de la procedencia de las obras que, eventualmente, podían vincularse al expolio nazi. La misión de preservar la alta cultura y la sensación de heredar parte de la tradición europea no parecía dejar lugar a ningún tipo de cuestionamiento ético dentro de la alta burguesía porteña. En el marco de una plaza comercial que para mediados de siglo XX mostraba fuertes competidores con respecto a la importación de pinturas, se destacó en Buenos Aires la sucursal de la Galería Wildenstein que, entre 1939 y 1940, se instaló en la ciudad con los antecedentes de una actuación exitosa en París con sedes en Londres y Nueva York. El propósito es explorar ciertos aspectos de la trayectoria de Wildenstein durante sus primeros años de actuación en la capital argentina focalizando en las estrategias de inserción en el espacio comercial como en aquellas políticas de exhibición utilizadas para cubrir la demanda de pintura europea al mismo tiempo que contribuía a incentivar esa doble apropiación material y simbólica favorecida por la dispersión del patrimonio. Se trata de analizar el rol de la galería en ese doble juego de identificaciones y ocultamientos que articuló un sector de la cartografía artística en el contexto de la Segunda Guerra Mundial y que en parte persiste hasta el día de hoy. Facultad de Filosofía y Humanidades. Escuela de Historia 2017-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/RIHALC/article/view/18924 Journal Red Intercátedras de Historia de América Latina Contemporánea ; No. 7 (2017): Revista de la Red Intercátedras de Historia de América Latina Contemporánea. Diciembre 2017-Mayo 2018.; 39-53 Revista de la Red Intercátedras de Historia de América Latina Contemporánea; Núm. 7 (2017): Revista de la Red Intercátedras de Historia de América Latina Contemporánea. Diciembre 2017-Mayo 2018.; 39-53 Revista da Rede Intercátedras de História Contemporânea da América Latina ; n. 7 (2017): Revista de la Red Intercátedras de Historia de América Latina Contemporánea. Diciembre 2017-Mayo 2018.; 39-53 2250-7264 spa https://revistas.unc.edu.ar/index.php/RIHALC/article/view/18924/18822 Derechos de autor 2018 Revista de la Red Intercátedras de Historia de América Latina Contemporánea - Segunda Época |