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260:. The pavilion was made of iron, and could be easily disassembled. When there were no buyers, it was decided to bring it to Buenos Aires. Some parts were lost in a storm during the transatlantic crossing, but it arrived in Buenos Aires in acceptable condition. A bidding contest was held to see who wanted to rebuild it and exploit the concession, which was won by an Englishman who used the pavilion for various types of exhibitions. In 1910, at the centenary of the
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314:, 'museum and archive of technology and education Lorenzo Raggio', found that the former owner (Isidoro Adrets, a soldier and a blacksmith), had bought the remains of the Argentine Pavilion in 1945. The elements of the main nave of the pavilion had not been destroyed, but were buried in a sector of the
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in
Argentina. At its feet are two human figures: one the right that is harvesting grain (representing the agriculture that is main source of the wealth of the country) and one on the left; a man seated on an anvil between gears (that symbolize industry) holding a locomotive, personifying the progress
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At the Paris
Universal Exhibition held in 1889, 35 countries built enormous pavilions that were used by each nation to show its progress and cultural level. Each pavilion tried to represent the wealth of the participant nation. Argentina was one of the invited countries, which gave an opportunity for
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conserves the original plaster model of the sculpture, measuring 84 cm x 122.3 cm x 33 cm. It was given to the museum in 1946 by
Ignacio Pirovano, to commemorate his mother María Rosa Lezica Alvear of Pirovano. Dr. Pirovano inherited the sculpture from his grandfather, Ricardo de
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The bronze sculptural groups that decorated the four corners of the pavilion were installed by the Buenos Aires city authorities in diverse points of the city, whilst the main sculpture was placed at its current location next to the building of the
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its political leadership to show the economic strength of a nation that had experienced major modernisation and transformation in the preceding twenty years. The
Argentine Pavilion was in the
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After the
Universal Exhibition, the Argentine delegation in Paris tried to sell the pavilion because of the precarious state of the Argentine economy after the
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270:(San Martín square) in front of the National Museum of Fine Arts. The Pavilion was dismantled between the 1932 and 1934, and eventually sold as scrap.
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To build the
Argentine Pavilion, the national government delegated the task of organizing a contest to an ad hoc committee chaired by the writer
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336:(a traditional symbol of liberty) and garments waving in the wind. At her back is a bull that symbolises the growing
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Lezica y
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The sculpture is a feminine figure that personifies the
Argentine Republic, with a
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by Jean-Baptiste Hugues, that was a central part of the
Argentine Pavilion at the
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Monument plate of the sculpture at its location at the
Escuela Técnica Raggio
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Faculty of Architecture, Design and Urbanism, and another group of the
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Hugues sculpted an original work in bronze for the pavilion. The
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El pabellón argentino en la exposición universal de París 1889
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400:(in Spanish). Buenos Aires: Museo Escuela Técnica Raggio.
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Museo Nacional de Bellas Artes (Buenos Aires), inv. 6695
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311:Museo Archivo Tecno Educativo Lorenzo Raggio
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77:Learn how and when to remove this message
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40:This article includes a list of general
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432:. Buenos Aires: Fundación Antorchas.
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197:Universal Exhibition of Paris in 1889
301:Fábrica Solana de Carros y Carruajes
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18:La República Argentina (escultura)
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294:In 1997, in the neighbourhood of
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187:La República Argentina
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382:"Un sueño argentine"
193:monumental sculpture
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167:34.5360°S 58.4661°W
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328:Description
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67:August 2016
59:introducing
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420:9879254155
374:References
158:58°27′58″W
155:34°32′10″S
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388:23 August
296:Mataderos
97:English:
238:maquette
134:Location
322:Palermo
203:History
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