Portrait of woman. 1939.

Graphite on paper. Measurements: 32 x 25 cm. (12.59 x 9.84 in.). Framed work.

 

"In those years of the 30s, as I said at the beginning of the letter, I lived influenced by the romantic spirit [...] Then I overcame this neo-romanticism in art, although in my way of being I continued to enjoy its attributes, which, because they distanced themselves from my creative method, they did not succeed in hindering it, which occurred 10 years later, when I assumed realism based on the laws of nature.” (1) At the beginning of the thirties, Lozza joined the realistic aesthetic, in accordance with his communist ideas and the fight against fascism. However, at the end of those years, his figurative work went through different styles, from naturalism to post-cubism in an eclecticism that has an example in this portrait of more academic invoice where he seems to express those romantic attributes that he mentions in the aforementioned letter to León Benarós.

 

It is interesting to compare this drawing with his 1940 self-portrait of more synthetic volumes. Both share the management of shadows to define both the face and distance the figure from the background. Lozza had married in 1938, and for the years of this drawing a commercial enterprise begins: the design of feminine lingerie and bridal trousseau that supported him financially.

 

In 1944 Raúl Lozza was one of the avant-gardes of the Asociación Arte Concreto Invención, to later elaborate his theory of perception, with which he occupies an outstanding place in the history of Argentine art.

 

Notes:

1. Raúl Lozza: A whole story in a piece of life. Twenty letters from a painter (Raúl Lozza) to a writer (León Benarós.). Buenos Aires, 2005, p. 33. 2. Data indicated in the chronology of Gerardo Burton in Raúl Lozza (exp. Cat.) MNBA, 2006, p. 66. Lozza had two women's lingerie businesses, with 16 seamstresses and embroiderers. Raúl Lozza. A museum for sixty days (cat. Exp.), Centro Cultural Borges, 2001, p. 33.


S.E.H.9.C2-IOL

AUTHOR RAÚL LOZZA

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