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Currently living in Cordoba province, Leaving school at 14 to study at the Academia Nacional de Bellas Artes, Alonso’s work was inspired by the expressionist movement.


Painting bodies in a tortured way, he expresses the pain and misery found in humanity. Alonso’s own suffering may have influenced his work. His daughter was abducted, beaten and disappeared during the 1976 military coup in Argentina.


His preferred topics are social issues, brutality and eroticism. Following his own loss, the artist went into hiding in Italy and then Madrid before returning to Argentina in 1981.


It’s hard to describe Mari’s work. She doesn’t use any outlandish techniques, yet somehow succeeds in conveying ideas and feelings that are distinctly modern, often bordering on the surreal


While Videla, the dictator was in power. she went to primary school during the spring of democracy, and to high school in the aphatic 90's. 

Since 2010 i'm developing “ Painting Recital” a particular way to show canvas. I have done recitals in the Danish Church, Buenos Aires (2010 & 2011) Zavaleta/lab art gallery (2011) Casa Brandon (2012) Sputnik galleria (2013), and in schools, libraries, and cultural houses. I live and work in Buenos Aires.

Lula Mari's "Diana Cazadora" (Huntress Diana), Oil on canvas, 2009 


Delesio Antonio Berni (Rosario, 14 May 1905 - Buenos Aires, 13 October 1981) was an Argentine figurative artist.


He is associated with the movement known as Nuevo Realismo ("New Realism"), a Latin American extension of social realism.


His work, including a series of Juanito Laguna collages depicting poverty and the effects of industrialization in Buenos Aires, has been exhibited around the world.

Berni became interested in surrealism and called it "a new vision of art and the world, the current that represents an entire youth, their mood, and their internal situation after the end of the World War.


Xul Solar was a renowned and prolific Argentinian painter, who is known to be one of the most innovative, influential and creative artists Argentine has produced. 


Xul Solar was actually a signature adopted by Oscar Agustin Alejandro Schulz Solari (his real name) to sign his works, it means ‘the light of the sun’.


His art exuded a spiritual aura, and a captivating combination of philosophy and different cultures portrayed in bright, exuberant colors, shapes, geometric symbols and plain figures. 


In the late 1940s until the mid-1950s he was engaged as a creative artist consulting for the studio of his long-time friend Walt Disney. Together during their trips to Bariloche they worked on the creation of characters for the 1942 animated film, Bambi. His contribution to the film can be recognized in the style of the animals and trees in the film that reproduces the wild life of Victoria Island on Nahuel Huapi Lake, in Argentina's Patagonia.

As an artistic consultant with the Disney studios he also contributed in the creation of inexpensive package films, containing collections of cartoon shorts, and issued them to theaters during this period. The most notable and successful of these were Saludos Amigos (1942), its sequel The Three Caballeros (1945), Fun and Fancy Free (1947) and in the original movie poster of Alice in Wonderland (1951).


In 1946 Molina Campos published Vida Gaucha, a text book for Spanish students in the United States.


Famous for fusing Argentine politics with religious iconography, Daniel Santoro is a highly individual and fearless artist. Born in Buenos Aires in 1954, his fascinating iconographic work concerning the country’s divisive Peronist history has made him something of a controversial figure in the art world here. He also traveled to the East, where he studied Chinese philosophic texts, also incorporating some of those elements into his work.

"My proposal is to work like an archaeologist who discovers a lost civilization and values it without judging it, but showing it in the most “objective” way possible. For example “Peronist World” works that way, even the furniture and ceramics are used to create a certain distance that is ironic but not disaffected."

Daniel Santoro's "La piedad. Eva Perón devora las entrañas del Che Guevara" (The Pietà: Eva Perón devouring the guts of Che Guevara), oil, 2008


Quinquela is considered the port painter-par-excellence and one of the most popular Argentine painters. His paintings of port scenes show the activity, vigor and roughness of the daily life in the port of La Boca.

There is a wide gap between Benito Quinquela Martín and the rest of painters: his biography and his work have not been attractive to art enthusiasts only.

A great artist of important recognition and career, an undeniable talent for painting ports and port workers sceneries, his presence clearly visible throughout the neighborhood of La Boca and still alive in the memory and the heart of the Argentinian people.

Benito was a son of the neighborhood of La Boca. One day in the month of March of 1890, some nuns found him opposite the door of the House of Abandoned Children, an orphanage; that is the reason why his exact birth date is uncertain. He lived there until he was adopted at the age of six by Manuel Chinchella and Justina Molina.


Emilio Pettoruti (1892–1971) was an Argentine painter, who caused a scandal with his avant-garde cubist exhibition in 1924 in Buenos Aires. At the beginning of the twentieth century,


Buenos Aires was a city full of artistic development. Pettoruti's career was thriving during the 1920s when "Argentina witnessed a decade of dynamic artistic activity; it was an era of euphoria, a time when the definition of modernity was developed." While Pettoruti was influenced by cubism, futurism, constructivism, and abstraction, he did not claim to paint in any of those styles in particular.


Exhibiting all over Europe and Argentina, Emilio Pettoruti is remembered as one of the most influential artists in Argentina in the 20th century for his unique style and vision.



Seguí was born into a middle-class family in Córdoba, Argentina. The oldest son, he has three siblings.

Generally has a satirical sense of humor, critiquing society and human nature. Beyond this, Seguí’s art has lyric components that transcends his satirical intentions.


One of the most characteristic features of Seguí's drawings and paintings is the presence of little men wearing hats. The artist has told that this comes from memories of his childhood, in a time when men always wore hats in the public space.

Up close, each figure is an individual, walking around and doing all kind of things. But from a distance, the individuals conform a complex patterns in a labyrinthic landscape.


Marta is a pioneer of performance art, video, happenings and soft sculpture. Minujin’s abomination towards collectible art objects places as a paradigm in her creation process. Marta pursues irreverent practice to demonstrate her feelings about the notion of preserved art, all the while in a very public manner.


This is the reason why Minujin’s use of materials are those that are inherently ephemeral, such as cardboard, food or fabric, creating artworks both fragile and monumental

She is a pop artist. Minujín’s work is all about participation – or joining in. She makes art that people don’t just look at – but actively encounter. She wants people to be surprised and shocked, to feel uncomfortable and embarrassed, and to become curious. She sees her role as intensifying people’s lives by getting them to experience things and feelings they normally wouldn’t.

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