Abstract
The aim of this study is to increase our knowledge of one of the most
curious moments in the development of Latin American art at the dawn of the
twentieth century. The article takes as a central reference the career of
Roberto Montenegro, bringing new evidence to bear on his work, and sets out
to illustrate the ambience in which the artist moved during his years in
Europe —in particular the period of his residence on the island of Majorca—
describing the influences and relations which affected him there. It also
addresses the work of other artists from the Americas who, like Montenegro,
studied under the Catalan Hermen Anglada Camarasa in Paris and moved,
shortly before the outbreak of the 1914 war, to the Balearic islands. The
Majorcan landscape, and other aspects of local color, became sources of
inspiration for them, of particular salience being costumbrista portraits
of women; these were to be subjects of representation, not only in
paintings but also in illustrations executed for books and magazines
—particularly by Montenegro and the Argentinian Gregorio López Naguil.
Another aspect examined in this article is the “Americanist” spirit
cultivated by these artists, even while for away from their respective
nations, and which after returning home, was to become firmly rooted as one
of their ideological and artistic characteristics.
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