Introduction
Renowned artist Torres Garcia was born in Brazil but spent most of his life in various European countries. He had a chance to experience various cultures hence developing an urge to unite people from all parts of the world. Through his works of art, Torres Garcia tried to defy traditions by promoting internationalism (Balderston 64). For instance, he campaigned for the use of universally accepted objects in paintings to convey messages across international borders.
For example, the inverted map of South America showed how Torres Garcia used objects and creatures that were known to everyone to pass his artistic message (Barnitz 65). In this map, there were several features with specific meanings for the public. For instance, there was a symbolic moon, a sun, a fish, and a sailing ship. In this case, many people interpreted these symbols with the fish being said to represent life. In addition, Torres Garcia said that the fish represented the physical and formal universe (Robinson and Robinson 48). Latin American artists ensured that they passed a message of modernity in South America. In return, they influenced modernization in Latin America as people used to learn from their works of art.
Analysis
The Rupture Group inaugurated a museum of modern art that came to be known as “Rupture” in Brazil. This inauguration marked the start of concrete art in Brazil. This great launch was organized by both local and foreign artists. This was a direct indication that many works of art displayed in the museum included those by foreign artists (Dym and Offen 29). In fact, these works of art influenced modernization in Latin America as part of messages portrayed in the works of art originated from European countries. Locals took some of the information and utilized it in their everyday development.
These artists were from various countries in the world that offered special training on arts. They made use of geometrics and abstracts in their works of art. All these influenced modernization as arts from various nations in the world were welcomed in Latin America (Hopkins 71). In fact, the rupture group encouraged research based on universal and clear principles. This means that all their works of art were conversant with the set rules to enhance universal acceptability.
The insertion of concrete art in the industrial society had a positive impact on the development of South America. For instance, foreign aspects brought in through works of art were used positively by developers to improve society. Specific arts had significant meaning and importance to society (Pozzi-Harris 93). For instance works of art in line with mathematics helped people to acquire knowledge from their concepts. In painting concepts, artists adhered to the principles of portraying criticism of pictorial illusionism. This means that every work of art was expected to carry a given message in line with its importance to society.
Conclusion
The majority of Latin artists lived in Paris for so long, hence, acquiring European lifestyles. These artists carried with them the artistic expertise to Latin America. Since these artists were many, much of development in Latin America had a lot of influence from European countries (Jiménez 75). In fact, they worked for hand in hand with Latin American artists who lived in South American countries to bring about universally accepted works of art. In addition, these artists expanded their work to other parts of the world with the aim of countering different cultures and traditions in order to promote universal arts.
Works Cited
Balderston, David. Encyclopedia of Contemporary Latin American and Caribbean Cultures. London: CRC Press, 2001. Print.
Barnitz, Jacqueline. Twentieth-Century Art of Latin America. Texas: University of Texas Press, 2001. Print.
Dym, Jordana, and Karl Offen. Mapping Latin America: A Cartographic Reader. Chicago: University of Chicago Press, 2011. Print.
Hopkins, David. Neo-Avant-Garde. Paris: Rodopi, 2006. Print.
Pozzi-Harris, Ana J. Marginal Disruptions: Concrete and Madi Art in Argentina, 1940—1955. Michigan: ProQuest, 2007. Print.
Jiménez, Ariel. Alfredo Boulton and His Contemporaries: Critical Dialogues in Venezuelan Art, 1912-1974. London: The Museum of Modern Art, 2008. Print.
Robinson, Alex, and Gardenia Robinson. Brazil Handbook, 7th. New York: Footprint Travel Guides, 2011. Print.