The nude in Eugenia's work
One of the most outstanding works of the artist, Nude in the Park, shows a female body The woman hides her face in her hands.
By Museo Histórico Sarmiento
Eugenia Belin Sarmiento
Historically, the access of women artists to the study of the human body totally or partially stripped of clothing has been controversial. Both social customs such as the idea of truth implicit in the naked body made inaccessible or extremely difficult a close examination of the anatomy of the human. At the same time, this knowledge was, and still is, central to the definition of what a “true” artist is.
Eugenia Belin Sarmiento's nudes include typical workshop poses, intended for artists to explore foreshortening and volume effects. But there, her nudes are far from being limited to these parameters. A not insignificant number of works by her hand show nudes out of the norm: unexpected poses, unexpected scenarios and intriguing atmospheres. Once Eugenia Belin Sarmiento acquired mastery of the figuration of the body, she applied her sensitivity to create a corpus of anomalous nudes.
Two-dimensional work without framing. Representation of a nude female figure, standing and with a back 3/4 right profile, head in right profile. Short hair, right arm raised, under the armpit slightly outlined the right chest. Leaning on the left leg with the right leg slightly bent. No signature by Eugenia BelinMuseo Histórico Sarmiento
Study of a female nude
Pastel on paper.
45x22
Year 1919
Seated female nude 3/4 of the left profile, right leg bent, covered by the left, foot by cut leaf, around the neck and face touch turquoise. (1919/1919) by Eugenia BelinMuseo Histórico Sarmiento
Female nude
Pastel sobre papel
36 x 36, 5 cm.
Realizado en Amberes, Holanda en 1919
Standing female nude with 3/4 profile, with the left arm covering her face (1919/1919) by Eugenia BelinMuseo Histórico Sarmiento
Standing female nude
Pencil on paper
50x33cm
Made in Antwerp, Holland in 1919
Female nude sitting on her back. Below signature, place and date, it says: DEL NATURAL (1919/1919) by Eugenia BelinMuseo Histórico Sarmiento
Female nude
Pastel sobre papel
36 x 36 cm.
Realizado en Amberes, Holanda en 1919
Eugenia Belin Sarmiento's training did not follow a traditional path, adjusted to the academic model. It was only in Europe, where she lived with her brother Augusto de Ella, that the artist began to closely explore the subject of the nude. The poses Workshops like this allowed him to develop his abilities to observe the human body.
These are two works made pastel on paper support. From the series of studies of him made in Antwerp, Holland in 1919
In the work on the left, we see a traditional academic exercise: the representation of the human figure with arms crossed over an object. The artist's gaze, in addition to studying the complex volume of her arms and back, stops at the model's expression.
On the other hand, in the one on the right, the choice to focus on a strange gesture (that of the model covering her face with her hands) is found in various works by the artist. The hidden face draws our attention to the subjectivity of the person represented, preventing us from reducing it to a visual object.
On one side of the sheet are two female figures, one dressed and the other naked. On the reverse side, sketch of both in pencil by Eugenia BelinMuseo Histórico Sarmiento
Study
pastel on paper
35x25cm
1919
The study of ancient figures, among which are the so-called tanagras, was a favorite subject of the artists. These two drawings show us another aspect of Eugenia Belin Sarmiento's training: her exploration of the human body through
from Greek and Roman models.
Female nude
It is a work done in pastel on paper. Measures 51 x 31 cm. c. 20th century
"Women, art and work: Procesa and Eugenia" Sarmiento without Shadow @museosarmiento. Georgina Gluzmann, professor and researcher in art history, together with Virginia González, director of the Sarmiento Historical Museum, talked about her artistic career, whose critical evaluation has suffered the same fate as that of other women of the period, through the study of her life, the analysis of his works and the contextualization of the periodical press of the moment.
Texts: Georgina Gluzman
Press and communication: Soledad Durando
Collection management: Constanza Ludueña
Direction: Virginia F. González
