163:. One of the main objectives of the group was to reintroduce figurative art to Argentinian culture. The Otra Figuración group believed they lived in a collective society and shared the conviction that in order to make good art, the artist had to delve into himself. During Deira’s time with Otra Figuración, he and the other members of the group adopted free brushwork and drip techniques to combine various methods to create their surreal and expressionistic artwork. The artists used abstract, geometric shapes, bold colors, and mixed media in their artwork as well.
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112:(New Figuration) movement in Latin America. Together they called for a return to figurative art, rejecting both abstraction and traditional forms of representation. Deira's own style was highly expressive, linear, and often grotesque. Deira went to the Universidad of Bueno Aires and became a lawyer, but later turned to art. He studied with
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his death. The series was part of an exhibition in Chile when the military regime of
Augusto Pinochet came to power on September 11, 1973. The paintings were then hidden to preserve their physical integrity. However, the whereabouts of the seven paintings remained unknown until October 2020. The following month, and with the help of
148:. Later, he turned to pop art, expressionism, and informalism to define a style between figurative painting and abstract painting. Using this style, he addressed a range of themes–war, love, mythology–with images that were both passionate and critical. This had meant Deira had worked through many postwar art movements.
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By the time of his second exhibition, in 1961, Deira was moving into an expressive figural style in which he painted portraits of distorted figures. In each of his paintings, they vary with how many figures are in each painting. Some paintings have a single figure or head, others have two, and still,
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In 1971 Deira created a series of seven paintings that he collectively labeled “Identifications.” These paintings mirror tragic political events in Latin
America, Vietnam, and Bangladesh. The title responds to the severed hands of Ernesto Guevara that were used to identify his identity and confirm
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he painted a figure in the middle painted in white with bluish shadows. The figure has a stern, if not angry, look on his face. All around the black square, Deira has painted
Spanish words in scrawling cursive writing using various colors – blue, red, and yellow.
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others have a bigger group. In most cases, they look only vaguely human. They seem to be moving, but not with recognizable or specific motions. In his expressive paintings, he uses a lot of red, black, blue, and yellow. In
180:, he interprets human existence through visual means. He does this through layered splashes, thick brush strokes, and dripping colors. His thick brushstrokes work to catch the viewers eye. In Deira's painting,
176:, for example, he painted a large figure, freely brushed with scarlet. He used thick brushstrokes in both the background and body, made with urgent stabs and twisting wrist motions. In his painting,
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Deira was a member and founder of the
Argentinian group Otra figuracion, also known as Nueva figuracion. The group was founded in 1961. The other founders included artists
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35:(l-r) Luis Felipe Noé, Jorge de la Vega, Luis Seoane, Hugo Parpagnoli and Ernesto Deira, in Bar Moderno (1962).
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2009 - “MoMA at El Museo: Latin
American and Caribbean Art from the Collection of The Museum of Modern Art,”
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in an exhibition entitled "Otra
Figuración". After the exhibition, they formed a group of the same name (
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Untitled, 1967, colored ink on paper, 48 x 68 cm, Museum of Modern Art of Buenos Aires
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108:( July 26, 1928- July 1, 1986) was an Argentine artist associated with the
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Untitled, 1963, ink on paper 32 x 47.9 cm, Museum of Modern Art, NY
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Grieder, Terence (1964). "Argentina's New
Figurative Art".
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510:. University Press of Florida. pp. viii–x.
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273:Untitled, 1960, oil on canvas, 90 x 70cm.
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423:"Argentina's New Figurative Art"
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217:We Have to Escape from Reality
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504:Frank, Patrick (2016-12-13).
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404:"Deira, Ernesto (1928-1986)"
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54:Buenos Aires, Argentina
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65:(1986-07-01)
63:July 1, 1986
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427:Art Journal
408:go.gale.com
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284:Exhibitions
563:Categories
549:2021-12-05
433:(1): 2–6.
346:References
47:1928-07-26
447:0004-3249
366:(1): 2–6.
258:The Widow
223:Metonimia
76:Education
288:Source:
277:Portrait
254:La Viuda
232:No. 1623
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202:Artworks
196:Interpol
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323:1962, D
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