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Livio Abramo

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Livio Abramo
Born(1903-06-23)June 23, 1903
DiedApril 26, 1992(1992-04-26)(aged 88)

Livio Abramo(June 23, 1903 – April 26, 1992) was aBrazilian-bornParaguayansketcher, engraver, and aquarellist.[1]

Abramo was born on June 23, 1903, inAraraquara,BraziltoItalian-Jewishparents ofSephardicbackground. He described his father as a liberal and his paternal grandfather as an anarchist. Although born inBrazil,he adoptedParaguayas his nation and it was in this country that he produced much of his work. He is considered to be "a key player in this development of Paraguayan modern art."[2]

In his bookEtapas de un itinerario: grabados, dibujos, acuarelas de Livio Abramo(Phases of an Itinerary: Engraves, Drawing and Aquarelles From Livio Abramo) Abramo claimed that his artistic skills were entirelyautodidactic,and that many of his creations were inspired by his political views. Scholars consider him to be influenced byOswaldo Goeldiand by German expressionists such asKäthe Kollwitz.[3]

Beginnings

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After obtaining a major prize for his engravings in 1950, he travelled for almost two years inEurope,accompanied by his daughter Larissa. During this time he visited many European museums.

Abramo was a journalist for 33 years, and his political ideologies are expressed in his artistic work. He was very politically active; a trait which landed him in trouble on several occasions, with him spending some time in jail.

Work

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Abramo followed the studies of Brazilian nature, known asItapecerica,Campos de Jordão(Fields of Jordao), and others. Following this, he created the seriesObrero(Worker) andGuerra civil española(Spanish Civil War). Years later, he produced the xylo-engrave series in 1948 to illustrate the bookPelo Sertão,written by Brazilian writer Alfonso Arinos.

Career milestones

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Following is a list of some important events during Abramo's career:

  • 1951:Had a special room at the First Biennial of Modern Art of São Paulo; also had a special room at the sixth edition of the event.
  • 1956:Provided an individual exposition to the Modern Arts Museum of Río de Janeiro, and another at São Paulo.
  • 1956:First visit to Paraguay[2][4]
  • 1957:Founded the Taller de Grabado Julián de la Herrería (Julián de la HerreríaEngraving Workshop) inAsunción.[5]
  • 1960:Along with engraverMaría Bonomi,founded the Estudio Gravura at São Paulo.
  • 1964:Moved permanently to Asunción, where he worked training Paraguayan artists.
  • 1976:Made an introspective show at the São Paulo Biennial.
  • 1978:Invited to repeat his previous retrospective by the Modern Arts Museum of Río de Janeiro.
  • 1983:Made an exposition in the Cultural Center of São Paulo.
  • 1990:TheLasar Segall Museumorganizes a retrospective of his work.

Legacy

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On April 26, 1992, a few months before turning 89 years old, he died inAsunción.Abramo was admired for his extraordinary humility, kindness, the integrity and clarity of his thoughts, and the thorough approach he employed in the training of many other artists. He was considered to be one of the renovators of the xylographic language of the 20th century.

His engravings can be found at the British Museum ofLondon,the Museum of the Vatican, the Museum of Modern Art, the Metropolitan Museum ofNew York City,the Riverside Museum, the Philadelphia Museum, The National Library of the Louvre in Paris, the Modern Arts Museums of São Paulo and Río de Janeiro, and the Visual Arts Center in Asunción, as well as in numerous private collections.

In February 2006, works by Livio Abramo and other Paraguayan artists were exhibited to celebrated the 50th anniversary of the founding of the Taller de Grabado Julián de la Herrería (Julián de la Herrería Engraving Workshop).[5] In February 2007, Vanessa Tio-Groset and Jorge Codas paid tribute to his work in the multidisciplinary exhibitionFesta ao ritmo da chuvaat the Cultural Center of the Brazilian Embassy in Paraguay.[6][7]

References

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  1. ^Forjadores del Paraguay: Diccionario biográfico.Buenos Aires, Argentina: Primera Edición Enero de 2000. Distribuidora Quevedo de Ediciones. January 1, 2000.
  2. ^abGARCÍA, MARÍA AMALIA (2014)."Hegemonies and models of cultural modernization in South America. The Paraguay-Brazil case".Art Marg.3(1). Santa Barbara: MIT Press: 28–54.Retrieved10 February2021.
  3. ^Wünsche, Isabel (2019).The Routledge companion to Expressionism in a transnational context.New York, London: Routledge, Taylor & Francis Group.ISBN978-1-351-77800-8.Retrieved10 February2021.
  4. ^Quevedo, Charles (7 April 2020)."The Brazilian Cultural Mission and the Arte Nuevo Group: A Regional Dispute for Cultural Hegemony and Paraguayan Modern Art".Artelogie(15).doi:10.4000/artelogie.4582.Retrieved10 February2021.
  5. ^abMora, Belén (2006)."Muestra de Livio Abramo por el cincuentenario del Taller de Grabado".Wayback Machine.Retrieved10 February2021.
  6. ^"Todo listo para la exposición sobre Livio Abramo".Neike / Wayback Machine.2007-02-16. Archived fromthe originalon 2007-06-07.Retrieved10 February2021.
  7. ^"Inauguran Festa ao ritmo da chuva 28 de febrero de 2007".D10.Retrieved10 February2021.