Alberto Nicasio | |
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Born | Alberto Nicasio 10 August 1902 |
Died | 4 July 1980 | (aged 77)
Nationality | Argentine |
Known for | Painting, Engraving, Illustration |
Alberto Nicasio (August 10, 1902 – July 4, 1980) was an Argentine artist ( xylographer) and educator. He was a member of the Argentinian National Academy of Arts. [1] [2] [3] [4] [5] [6] A street in the city of Córdoba and a primary school in the province are named after him. [2] [7]
Alberto Nicasio was born in Marseille, France, on 10 August 1902, the son of Alfredo Nicasio and Eugenia Lasserre. [2] As a young child, his parents decided to settle in the city of Oran, Algeria (then French territory); but due to the outbreak of the First World War, the family decided to emigrate to Argentina in 1916, finally settling in the city of Córdoba. There, Nicasio trained in drawing and painting at the Provincial School of Fine Arts with masters such as Emiliano Gómez Clara, Manuel Cardeñosa and Carlos Camiloni, and then began to study the technique of wood engraving. [1] [8] [9] He married María Elena Las Heras in 1930; [10] they had two daughters, María Elena and Carmen Olga.
As an artist, he participated in biennials in São Paulo, Mexico and Switzerland; he also participated in group exhibitions in the United States, Japan, Belgium, the Vatican, Spain, Chile, Uruguay and Brazil. [1] [2] [8] [9] [11] [12] [13] He illustrated various books, such as Sarmiento's Facundo, José Hernández's Martín Fierro, Adonais, Percy Shelley's elegy and 30 woodcuts on William Henry Hudson's Tierra Purpúrea, among others. [1] [2] [14] A number of exhibitions of his work were held posthumously. [15] [16]
Nicasio began experimenting with drawing and oil painting, and took part in group exhibitions in 1927 [17] and 1928. [18] Later, however, he abandoned his period as a painter and transitioned to woodcut, to which he dedicated the rest of his life. [8] [19] [20] [21]
Nicasio's oeuvre can be divided into periods in which his art varied. The first period was marked by a figurative character, depicting urban and suburban landscapes of Córdoba. These early engravings show the façades of buildings symbolic of Córdoba's colonial period, such as the Cathedral of Córdoba, or the buildings of the complex known as La Manzana Jesuítica, which includes the Compañía de Jesús and the Colegio Nacional de Montserrat. Also of note during this period were his landscape engravings such as La Cañada de Córdoba, as well as others such as the Barrancas de Córdoba and the old Suburbio Cordobés. [22] [23]
As a result of his interest in avant-garde art, he later began to experiment with geometrisation and abstract art. Thus, the following period of his work is characterised by a tendency towards abstraction, with simpler and more schematic forms, which would later evolve towards a more surrealist period. [2] [8] [24] [25]
A final period is characterised by the irruption of colour, in sharp contrast with his previous work in monochrome. At this stage, with the use of saturated inks (red, green and ochre), he approaches a neo-figurativism, but more synthetic and schematic. [2]
An important part of his life was his vocation as a teacher, in which he was dedicated to training successive generations of students. Some of them would later become renowned Argentine artists, such as Pedro Pont Vergés; Marcelo Bonevardi; Ronaldo de Juan; Alfio Grifasi; César Miranda, Raúl Pecker; José De Monte and Antonio Seguí, among others. [26]
He taught in normal and secondary schools. [8] He began teaching drawing at the Escuelas Pías (1931–1932) and at the Colegio Santo Tomás (1932–1942). Later, he was founder and director of the School of Engraving of the Society of Artists of Córdoba and professor of engraving at the Association of Painters and Sculptors of Córdoba (1939–1940). He founded the first engraving workshop in Córdoba at the Escuela Normal Superior Dr. Agulla (1942–1947). [2] [27] In 1950, he won the Chair of Engraving and later the directorship of the Escuela Superior de Artes (today the Faculty of Arts) of the National University of Córdoba. [27]
This section needs additional citations for
verification. (March 2021) |
Alberto Nicasio | |
---|---|
![]() | |
Born | Alberto Nicasio 10 August 1902 |
Died | 4 July 1980 | (aged 77)
Nationality | Argentine |
Known for | Painting, Engraving, Illustration |
Alberto Nicasio (August 10, 1902 – July 4, 1980) was an Argentine artist ( xylographer) and educator. He was a member of the Argentinian National Academy of Arts. [1] [2] [3] [4] [5] [6] A street in the city of Córdoba and a primary school in the province are named after him. [2] [7]
Alberto Nicasio was born in Marseille, France, on 10 August 1902, the son of Alfredo Nicasio and Eugenia Lasserre. [2] As a young child, his parents decided to settle in the city of Oran, Algeria (then French territory); but due to the outbreak of the First World War, the family decided to emigrate to Argentina in 1916, finally settling in the city of Córdoba. There, Nicasio trained in drawing and painting at the Provincial School of Fine Arts with masters such as Emiliano Gómez Clara, Manuel Cardeñosa and Carlos Camiloni, and then began to study the technique of wood engraving. [1] [8] [9] He married María Elena Las Heras in 1930; [10] they had two daughters, María Elena and Carmen Olga.
As an artist, he participated in biennials in São Paulo, Mexico and Switzerland; he also participated in group exhibitions in the United States, Japan, Belgium, the Vatican, Spain, Chile, Uruguay and Brazil. [1] [2] [8] [9] [11] [12] [13] He illustrated various books, such as Sarmiento's Facundo, José Hernández's Martín Fierro, Adonais, Percy Shelley's elegy and 30 woodcuts on William Henry Hudson's Tierra Purpúrea, among others. [1] [2] [14] A number of exhibitions of his work were held posthumously. [15] [16]
Nicasio began experimenting with drawing and oil painting, and took part in group exhibitions in 1927 [17] and 1928. [18] Later, however, he abandoned his period as a painter and transitioned to woodcut, to which he dedicated the rest of his life. [8] [19] [20] [21]
Nicasio's oeuvre can be divided into periods in which his art varied. The first period was marked by a figurative character, depicting urban and suburban landscapes of Córdoba. These early engravings show the façades of buildings symbolic of Córdoba's colonial period, such as the Cathedral of Córdoba, or the buildings of the complex known as La Manzana Jesuítica, which includes the Compañía de Jesús and the Colegio Nacional de Montserrat. Also of note during this period were his landscape engravings such as La Cañada de Córdoba, as well as others such as the Barrancas de Córdoba and the old Suburbio Cordobés. [22] [23]
As a result of his interest in avant-garde art, he later began to experiment with geometrisation and abstract art. Thus, the following period of his work is characterised by a tendency towards abstraction, with simpler and more schematic forms, which would later evolve towards a more surrealist period. [2] [8] [24] [25]
A final period is characterised by the irruption of colour, in sharp contrast with his previous work in monochrome. At this stage, with the use of saturated inks (red, green and ochre), he approaches a neo-figurativism, but more synthetic and schematic. [2]
An important part of his life was his vocation as a teacher, in which he was dedicated to training successive generations of students. Some of them would later become renowned Argentine artists, such as Pedro Pont Vergés; Marcelo Bonevardi; Ronaldo de Juan; Alfio Grifasi; César Miranda, Raúl Pecker; José De Monte and Antonio Seguí, among others. [26]
He taught in normal and secondary schools. [8] He began teaching drawing at the Escuelas Pías (1931–1932) and at the Colegio Santo Tomás (1932–1942). Later, he was founder and director of the School of Engraving of the Society of Artists of Córdoba and professor of engraving at the Association of Painters and Sculptors of Córdoba (1939–1940). He founded the first engraving workshop in Córdoba at the Escuela Normal Superior Dr. Agulla (1942–1947). [2] [27] In 1950, he won the Chair of Engraving and later the directorship of the Escuela Superior de Artes (today the Faculty of Arts) of the National University of Córdoba. [27]
This section needs additional citations for
verification. (March 2021) |