CRISIS OF REPRESENTATIVE ART

"Man returns from illusory reality (artificial paradises) to daily reality, to confront the drama of his existence which tears him apart and causes his dismay. Art shall not numb or describe the pictures of his misery. To invoke a false conception and justify it for a social purpose implies limiting his capacity of invention and progress. There exist other more effective means for the diffusion of knowledge and education of the people: the press, the radio, the cinema, technical drawing, etc. Representative art is undergoing a crisis, and no cause can save or justify it. It does not correspond to our times. Representative, figurative or abstract art is impotent to radically solve the problems between man, who conquers the social world day by day and becomes more extroverted, and painting, which consolidates 

a relationship outside that practical social structure and conceals it".

Rembrandt Lozza ("Perceptismo", October 1950).

 

THE PAINTING OF THE FUTURE

"I strongly believe that, in the future, painting will be anonymous and practical, and creator of everyone for everybody. No one will be prevented from participating in the invention of beauty; new materials (plastic and constructive) and new ways of perceiving space and time will enlarge, beyond imaginable limits, the number of artistic genres, and as a result, enhance the creative possibilities of all human beings. This war of freedom of nations will lead to the strengthening of man’s community values. Art will represent a permanent consolidation of these values, and therefore, one of the most effective lubricants of the revolutionary tension of humanity".

Tomás Maldonado "Contrapunto" Magazine - 1945

 

THE CONCRETE

"The method that defines the concrete in a work of art resulted in the aesthetic object never concealing itself behind that "which appears to be and is not". A reality with truth that was the objective and achieving it entailed a considerable change of many aesthetic rules, unquestionable until then.As from the beginning of the year 1947, I began to study the capacity to conquer a real and physical space for the coexistence with a bi-dimensional art, as it is the art of painting, on the basis of its autonomy, comprised with its own specificity and social function, after considering all confinement, whether regular or not, as a promoter of "the world apart from the work of art".