Influence in Argentina
In 1924, when Pettoruti returned to Buenos Aires, European Modernism had not yet been accepted by art critics there. His first exhibition was not widely received by conservatives, however, in regards to Pettoruti's work, his good friend Xul Solar wrote that "the Buenos Aires public can either admire or disdain him. But all will recognize his art as a great stimulating force and a point of departure for our own future artistic evolution." His work was considered shocking since "themes of gauchos, landscapes, cattle, sheep, and horses were in those days the delight of big landowners who imposed their taste in painting."
Modernism and futurism were not widely accepted. When Pettoruti arrived back in his native country, he was not unheard of, since many articles had been written specifically for local Argentine publications. The compositions created by Pettoruti "insist upon references to local, specifically Latin American, themes within a thoroughly modern, European-inspired stylistic context." Although his style developed out of his native culture, Buenos Aires adapted much more to his modern style. "He was, for Buenos Aires in the 1920s, a beacon of artistic inventiveness who opened many doors for others, both artists and the public, to enter new, uncharted territories." Pettoruti's limitless, modernist approach to the arts had an everlasting effect on the art world in Argentina.
Read more about this topic: Emilio Pettoruti
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“Only let the North exert as much moral influence over the South, as the South has exerted demoralizing influence over the North, and slavery would die amid the flame of Christian remonstrance, and faithful rebuke, and holy indignation.”
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