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Juan Carlos
Distéfano
by
Adriana Lauria and Enrique Llambías
January 2003
Bibliographic reference of this dossier
Versión en español 
 
The dossier on Juan Carlos Distéfano spans from the time of his beginnings
as a painter to his recent works as a sculptor, a first for the CVAA. It covers
over forty years of his work and his commitment to art and reality. A special section offers a view on his work as a graphic designer, which he carried out mostly at the Di Tella Institute.
 
Introduction | Media | Works | Design | Chronology | Anthology | Bibliography
 
1930
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1949
El arte Morboso
Morbid Art. Speech by the Minister of Culture Oscar Ivanissevich
 
Oscar Ivenissevich, Minister of Education during Juan Domingo Perón’s first administration, visits the school of graphic arts. Once, speaking of “morbid art”, Nota 2 he had charged against modern and avant-garde expressions such as abstract art, which was at the height of its development in Buenos Aires, with groups of concrete art. Distéfano relates that:
“The same oratorical piece that he had used at the opening of the [1949] Salón Nacional, he repeated almost verbatim on his visit to our school. That man’s ideas – who, as is well known, was a Nazi sympathizer – were troglodytic. His comments on the works of some artists were those of a troglodyte. On a painting by Fernand Léger called The Couple, he commented sarcastically: ‘I’d say it’s a fridge’. And in front of another by Yves Tanguy called Lunar Landscape, he added: ‘As seen by a paranoid.’ That was the level of thought, insight and appreciation of that man. I remember the faces of Barragán and others who were struck dumb on hearing such words, but who of course could not say anything as they
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