Argentina: Page 7 of 8
important urban settlement in Argentina), who wrote prose and poetry. They were partly inspired by oral aboriginal poetry—in particular, according to Carlos Abregú Virreyra, by the lules, juríes, diaguitas and tonocotés. A symbiosis emerged between the aboriginal and Spanish traditions, creating a distinct literature, geographically limited (well into the 18th century) to the Argentine north and central regions, with the province of Córdoba as its center, due to the foundation of the National University of Córdoba. Two names stand out from this period: Gaspar Juárez Baviano, and Antonia de la Paz y Figueroa, also known as "Beata Antula".
Gradually, with the economic prosperity of the port, the cultural axis moved eastward. The letters of the colonial age (Viceroyalty-neoclassicism, baroque and epic) grew under the protection of the independentist fervor: Vicente López y Planes, Pantaleón Rivarola and Esteban de Luca.
During the 17th century, Argentine baroque was poor in comparison with that from Europe and some other parts of the New World. The only remarkable poet of this period was fray José Luis de Tejeda who wrote Coronas líricas and El peregrino de Babilonia.
One of the most influential Argentine figures in fine arts was Xul Solar, whose surrealist work used watercolors as readily as unorthodox painting media; he also "invented" two imaginary languages. The works of Cándido López and Florencio Molina Campos (in Naïve art style), Ernesto de la Cárcova and Eduardo Sívori (realism), Fernando Fader (impressionism), Pío Collivadino and Cesáreo Bernaldo de Quirós (post-impressionist), Emilio Pettoruti (cubist), Antonio Berni (neo-figurative), Gyula Košice (constructivism), Eduardo Mac Entyre (Generative art), Guillermo Kuitca (abstract), and Roberto Aizenberg (Surrealism) are a few of the best-known Argentine painters.
Others include Benito Quinquela Martín, a quintessential 'port' painter for whom the working class and immigrant-bound La Boca neighborhood, in particular, was excellently suited. A similar environment inspired Adolfo Bellocq, whose lithographs have been influential since the 1920s. Evocative monuments ny Realist sculptors Erminio Blotta, Lola Mora and Rogelio Yrurtia became the part of the national landscape and today, Lucio Fontana and León Ferrari are acclaimed sculptors and conceptual artists. Ciruelo is a world-famous fantasy artist and sculptor, and Marta Minujín is an innovative Conceptual artist. Argentina's "modern painters" are a difficult group to define. They have developed a constructivist rather than figurative style, though it is not quite abstract. Artists of this group include Julio Barragán, Luis Seoane, Carlos Torrallardona, Luis Aquino, Atilio Malinverno, and Alfredo Gramajo Gutiérrez.
Juan Del Prete (later the creator of Futucubismo, a mixture of Cubism and Futurism) came from the abstract art movement in Argentina, which developed in the 1940s from, of course, concrete art. Tomás Maldonado is one of the most well known abstract artists.
The Madí Movement, began in Argentina in 1946. One source claims Madí was founded in protest to the government control of the arts under Juan Perón. while a different source says that Madí is not necessarily a response to that oppression. The movement spread to Europe and later the United States. It is considered the only artistic movement founded in Buenos Aires to have a significant impact internationally. It was founded by Gyula Kosice and Carmelo Arden Quin, and included artists such as Rhod Rothfuss, Martín Blaszko, Waldo Longo, and Diyi Laañ.
Numerous Argentine architects have enriched their own country's cityscapes and, in recent decades, those around the world. Juan Antonio Buschiazzo helped popularize Beaux-Arts architecture and Francisco Gianotti combined Art Nouveau with Italianate styles, each adding flair to Argentine cities during the early 20th century. Francisco Salamone and Viktor Sulĉiĉ left an Art Deco legacy, and Alejandro Bustillo created a prolific body of Rationalist architecture. Clorindo Testa introduced Brutalist architecture locally and César Pelli's and Patricio Pouchulu's Futurist creations have graced cities, worldwide. Pelli's 1980s throwbacks to the Art Deco glory of the 1920s, in particular, made him one of the world's most prestigious architects.
The simplicity of the Rioplatense baroque style can be clearly appreciated in Buenos Aires, in the works of Italian architects such as André Blanqui and Antonio Masella, in the churches of San Ignacio, Nuestra Señora del Pilar, the Cathedral and the Cabildo.
Italian and French influences increased after the wars for independence at the beginning of the 19th century, though the academic style persisted until the first decades of the 20th century. Attempts at renovation took place during the second half of the 19th century and beginning of the 20th, when the European tendencies penetrated into the country, reflected in numerous important buildings of Buenos Aires, such as the Santa Felicitam Church by Ernesto Bunge; the Central Post Office and Palace of Justice, by Norbert Maillart; and the National Congress and the Colón Opera House, by Vittorio Meano.
The architecture of the second half of the 20th century continued adapting French neoclassical architecture, such as the headquarters of the National Bank of Argentina and the NH Gran Hotel Provincial, built by Alejandro Bustillo, and the Museo de Arte Hispano Fernández Blanco, by Martín Noel.
However, after the early 1930s, the influence of Rationalist architecture and of Le Corbusier became dominant among local architects, among whom Alberto Prebisch and Amancio Williams stand out in this new vein. The construction of skyscrapers proliferated in Buenos Aires after 1950, though a new generation started rejecting their "brutality," and tried to find an architectonic identity.
This search for identity is reflected in the Banco de Londres building finished in 1967 by Clorindo Testa with Diego Peralta Ramos, Alfredo Agostini, and Santiago Sánchez Elía. In the following decades, the new generations of architects incorporate, as always, European vanguardist styles, and new techniques.
Since the latter part of the 20th century, Argentine architects have become more prominent in the design of prime real estate projects in the country, such as the Le Parc tower and Torre Aqualina, by Mario Roberto Álvarez, and the Torre Fortabat by Sánchez Elía, as well as around the world, most notably the Norwest Center and the Petronas Towers, both by César Pelli.
Cinema and theatre
The Argentine film industry creates around 80 full-length motion pictures annually. The per capita number of screens is one of the highest in Latin America, and viewing per capita is the highest in the region. The world's first animated feature films were made and released in Argentina, by cartoonist Quirino Cristiani, in 1917 and 1918. Since the 1980s, Argentine films have achieved worldwide recognition, such as The Official Story (Best foreign film oscar in 1986), Man Facing Southeast, A Place in the World, Nine Queens, Son of the Bride, The Motorcycle Diaries, Blessed by Fire, and The Secret in Their Eyes, winner of the 2009 Academy Award for Best Foreign Language Film. A new generation of Argentine directors has caught the attention of critics worldwide. Argentine composers Luis Enrique Bacalov and Gustavo Santaolalla have been honored with Academy Award for Best Original Score nods. Lalo Schifrin has received numerous Grammys and is best known for the Theme from Mission: Impossible.
Buenos Aires is one of the great capitals of theater. The Teatro Colón is a national landmark for opera and classical performances; its acoustics are considered the best in the world. With its theatre scene of national and international caliber, Corrientes Avenue is synonymous with the art. It is thought of as 'the street that never sleeps' and sometimes referred to as the Broadway of Buenos Aires. The Teatro General San Martín is one of the most prestigious along Corrientes Avenue and the Teatro Nacional Cervantes functions as the national stage theater of Argentina. The Teatro Argentino de La Plata, El Círculo in Rosario, Independencia in Mendoza and Libertador in Córdoba are also prominent. Griselda Gambaro, Copi, Roberto Cossa, Marco Denevi, Carlos Gorostiza, and Alberto Vaccarezza are a few of the more prominent Argentine playwrights. Julio Bocca, Jorge Donn, José Neglia and Norma Fontenla are some of the great ballet dancers of the modern era.
Tango, the music and lyrics (often sung in a slang called lunfardo), is Argentina's musical symbol. It has influences from the European and African culture. The golden age of tango (1930 to mid-1950s) mirrored that of jazz and swing in the United States, featuring large orchestral groups too, like the bands of Osvaldo Pugliese, Aníbal Troilo, Francisco Canaro, Julio de Caro and Juan d'Arienzo. Incorporating acoustic music and later, synthesizers into the genre after 1955, bandoneón virtuoso Ástor Piazzolla popularized "new tango" creating a more subtle, intellectual and listener-oriented trend. Today tango enjoys worldwide popularity; ever-evolving, neo-tango is a global phenomenon with renown groups like Tanghetto, Bajofondo and the Gotan Project.
Argentine rock developed as a distinct musical style in the mid-1960s, when Buenos Aires and Rosario became cradles of several garage groups and aspiring musicians. Today it is widely considered the most prolific and successful form of Rock en Español. Bands such as Soda Stereo or Sumo, and composers like Charly García, Luis Alberto Spinetta, and Fito Páez are referents of national culture. Serú Girán bridged the gap into the 1980s, when Argentine bands became popular across Latin America and elsewhere. Current popular bands include: Babasónicos, Rata Blanca, Horcas, Attaque 77, Bersuit, Los Piojos, Intoxicados, Catupecu Machu, Carajo and Miranda!.
Beyond dozens of regional dances, a national Argentine folk style emerged in the 1930s. Perón's Argentina would give rise to nueva canción, as artists began expressing in their music objections to political themes. The style went on to influence the entirety of Latin American music. Today, Chango Spasiuk and Soledad Pastorutti have brought folk back to younger generations. León Gieco's folk-rock bridged the gap between Argentine folklore and Argentine rock, introducing both styles to millions overseas in successive tours.
Following the emergence of "new tango" in the 1960s, one of Piazzolla's fellow bandoneónists he influenced most became a noted jazz composer in his own right. Rodolfo Mederos' 1976 album Fuera de broma 8 fused be-bop with tango and acoustic rock; Mederos has since recorded numerous albums and film scores. His success with jazz fusion inspired others, like fellow bandoneónist Dino Saluzzi, guitarist Lito Epumer and alto sax man Bernardo Baraj. Later in the 1970s and through the 1990s, drummer Pocho Lapouble became well known for his jazz trio and film scores. Argentine jazz saxophonists have also become prominent in their genre. Alto saxophonist Andrés Boiarsky, who emerged in 1986 performing the film score for Hombre mirando al sudeste ("Man Facing Southeast"), records extensively to this day, collaborating with Latin jazz greats like Paquito D'Rivera and Claudio Roditi. Carlos Franzetti's work and arrangements for the 1992 feature film, The Mambo Kings, earned him a Latin Grammy.
The best-known Argentine jazz musician internationally is probably Leandro Gato Barbieri. The tenor saxophonist worked with renowned big band orchestra conductor Lalo Schifrin in the early 1960s, shortly before Schifrin became internationally known for his composition of the theme to Mission: Impossible. Hired by jazz trumpeter Don Cherry, the two recorded Complete Communion in 1965, an album that secured their reputation in the jazz world. Barbieri went on to record his influential Caliente! (1976), an album combining Latin jazz and experimental work such as his own and jazz fusion great Carlos Santana's, as well as Qué pasa (1997), which draws more deeply from Argentine folklore roots.
The print media industry is highly developed, with more than two hundred newspapers. The major national newspapers are from Buenos Aires, including the centrist Clarín, the best-selling daily in Latin America and the second most widely circulated in the Spanish-speaking world. Other nationally circulated papers are La Nación (center-right, published since 1870), Página/12 (left-wing), Ámbito Financiero (business conservative), Olé (sports) and Crónica (populist). The most circulated newsmagazine is Noticias.
Radio broadcasting in Argentina is predated only by radio in the United States, and began on 27 August 1920, when Richard Wagner's Parsifal was broadcast by a team of medical students led Enrique Susini in Buenos Aires' Teatro Coliseo. There are currently 260 AM broadcasting and 1150 FM broadcasting radio stations in Argentina.
The Argentine television industry is large and diverse, widely viewed