He started out as a student of architecture and ended up being a surrealist painter whose work has an architectural quality. Roberto Aizenberg (1928-1996) is the subject of this post, part of a desultory series on Argentinian painters. In general, I dislike abstract expressionists and love realists and surrealists. A student of Antonio Berni, about whom I have written before, Aizenberg’s work is reminiscent of Xul Solar, another surrealist from the Rio de la Plata.
The above painting ties the artist’s love of architecture to the soil of Argentina, with the buildings appearing to be a range of buttes and mesas built atop red earth riddles with caves. This one particularly reminds me of Xul Solar’s surrealist humor.
Harlequins typically wear costumes broken into a design of alternating black and white diamonds. Here, Aizenberg suggests the costume and brackets it with architectural elements. Instead of a human figure, the painter’s harlequin is topped with a doughnut-shaped ring and supported by three spheres of descending size—almost as if it were a decorative finial for a staff or scepter of sorts.
I have not seen many original canvasses by Argentinian painters, with the exception of Xul Solar, whose dedicated museum I have visited in Buenos Aires. The next time I go to South America—and I hope there is a next time—I will have to visit MALBA, the Museo de Arte Latinoamericano de Buenos Aires.
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