Abstract
The abstract mural movement is a great unknown in the Uruguayan art scene. This art style developed from the 1950s to the 1970s, with Montevideo as the main centre of creation. Famous artists such as Miguel Ángel Pareja, Leopoldo Novoa, Lincoln Presno or Edwin Studer, among others, were part of the abstract trend, however, the majority are renowned for belonging to the discipline of painting, not muralism. Analysing bibliographies, documents and interviews generated by the Project Uruguayan Contemporary Muralism (SFUCM), demonstrated that abstraction developed three lines of creation: the first one was inherent to Constructive Universalism, with Studer and Oroño the most important artists. The second was based on the Latino American Art Concrete (Arte Concreto), for which Licoln Presno is an excellent example. The third line was a combination with European Informalism, its major representation being the mural located in Luis Tróccoli Monumental Stadium, created by Leopoldo Novoa. Ignorance about this kind of mural has meant that some have been altered or even destroyed, such as the murals by Dums Oroño located in Costa Gallery in Montevideo. The aim of this study is thus to show abstract mural production as an important part of the Uruguayan artistic scene in the modernist period.
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Martínez-Carazo, EM., Santamarina-Campos, V., De-Miguel-Molina, M. (2021). The Abstraction, the Unknown Part of Uruguayan Contemporary Muralism. In: Santamarina-Campos, V., Martínez-Carazo, EM., de Miguel Molina, M. (eds) Cultural and Creative Mural Spaces. Springer, Cham. https://doi.org/10.1007/978-3-030-53106-5_5
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