AMA's Permanent Collection: Part III

Danilo di Prete exhibited Paisagem Cósmica, No. 2 at the Seventh Bienal de São Paulo, after which Francisco Matarazzo Sobrinho donated the piece to the OAS.

Painted in encaustic on canvas, Memory of Forms is representative of Ecuadoran artist Estuardo Maldonado’s early abstract work.

“In Uruguay I feel tied to a tradition, certain things were expected of me, one has responsibilities,” Gurvich remarked of his latercareer distancing from Montevideo and the Taller Torres García.

Ernesto Deira expressed both chaos and movement in Tempo, which by virtue of its title underscores cadence and speed as essential to his process.

At the time of his solo show at the Pan American Union in 1965, José Gómez Sicre named Rosado del Valle “the outstanding figure” in Puerto Rican painting, “by reason both of seniority and of the high quality of his production.”

This almost theatrical composition and severe rendering signal the tensions of an introspective dark human subconscious in the ghastly expressions of an alienated and marginalized humanity which the artist first began to explore in in his series Witches of Salem of the late 1950s.

Los sobrevivientes was executed at the cusp of the artist’s departure from pure abstraction and turn to the figuration characteristic of his work from the late 1960s and 1970s.

In conceptualizing the principles of the arte generativo movement, Mac Entyre found inspiration in technological advances of the moment in atomic energy; the initial forays into space exploration.

Fernández was among the first in San José’s provincial context to embrace abstraction and to introduce non-figurative elements into their compositions.

After a decade-long experiment with geometric abstraction, Mario Carreño returned to figurative painting in the 1960s in part as a response to the trauma of World War II and its reconstruction, which he witnessed firsthand during travel to Europe in 1962-1963.

Tierras Bien is one of two works belonging to the early abstract expressionist phase of Venancio Shinki, the Japanese-Peruvian artist, in the collection of the AMA.

Created at a departure point from the more angular, boxed-in forms of the 1950s and early 1960s, Untitled of 1968 is among the first works in a set of looser symmetrical compositions that also includes Composição em Amarelo (1966) at the Museo de Arte de São Paulo (MASP).

Antônio Henrique Amaral’s Banana is part of a homonymous series painted from 1967 to 1975 that garnered him international notoriety.

The painting presents a classical approach, visible in the sharpness of the lines, the disposition of the solid volumes in the space and the treatment of color.

Totem is carved out of what looks like a slightly bent tree branch. From the bottom to the top, the sculpture consists of a small base representing the ground, some animals, and a group of seven figures.

Haitian Landscape depicts through a series of clearly defined shapes, patterns, an intense palette, the fields, homes, trees, mountains, and figures of peasants that fill his compositions.