Artist Bio and Available Art Pieces
Bueno Aires, Argentina April 20, 1915 - Italy, August, 08, 2001
PLACE OF ORIGIN: Buenos Aires, Argentina
INFLUENCES: Atilio Bernasconi and Raúl Soldi.
AWARDS:Encouragement of the National Salon of Plastic Arts (1946); Augusto Palanza Award (1956); Award of Honor of the Ministry of Education (1958); Critics Award Art for the highlighted artist of his generation (1966); Konex Prize for Figurative Painting (1982)
EDUCATION: He studied with Raúl Soldi and Atilio Bernasconi. He studied at the Art Academy Brera (Milan) and the Royal Albertine Academy of Turin.
EXHIBITIONS: In 1942, he exposed in the National Exhibition of Fine Arts in Buenos Aires; in 1949 and 1954, in Switzerland; in 1950 and 1953 in the Galerias Pacifico (Buenos Aires). They highlight his exhibitions in the Witcomb Gallery (Buenos Aires, Argentina) and II Millone (Milan, Italy). In 1989, he presented his works in Paris. Also, he exhibited at the Sao Paulo Biennial (1956) and the Venice Biennale (1957). In the Galleria del Levante in Milan and the Galleria Piccelli of Brescia, and the Museum of Engraving of Buenos Aires (1973). He held exhibitions in the Argentine galleries Antigone, Rubbers, Palatine, Picture, Plastic, Austral, Sorolla, Lo Bue, among many others
In 1923, he settled with his family in Italy. In 1925, he began painting with Raúl Soldi and studied with the master Atilio Bernasconi. In 1931, he traveled to Argentina, where he stayed for one year. Between 1932 and 1935, he studied at the Art Academy of Brera in Milan, under the direction of Aldo Carpi. In 1939, enrolled in yearly painting course at the Royal Albertine Academy of Turin. From the beginning, he was interested in painting and sculpture. He also made stained glass in the Laboratory of Víctor Corato. Since 1949, he alternated his time between Italy and Argentina.
When World War II was declared, he left Italy as a stowaway. He arrived at the Canary Islands in Lanzarote, where he embarked in the same manner in the Principessa Giovanna transatlantic to Buenos Aires, but was discovered and sent to the Isla Martín García. Thanks to the help of his mother, he managed to return to Buenos Aires. He stayed in Argentina until 1946, before he returned to Milan.
In Argentina, Cogorno contacted Xul Solar, Leónidas Gambartes, and Juan Carlos Castagnino. Becoming engrained with Buenos Aires’ cultural environment, he used to meet with Raúl Soldi, Lucio Fontana (who was best man at his wedding), Juan Blatlle Planas and Leopoldo Presas.
Since 1940, he traveled extensively to northern Argentina: “I looked all the specimens I could find in collections and then books. I saw then, that, for example in Italy, nobody wanted to about learn all these wonders” said the artist.
Cogorno made female portraits, landscapes, and dead wonder. His central theme was always the female figure, with a unique ability to improvise (he didn’t do sketches), his unfinished, spontaneous and energetic strokes characterized his works. He worked with oil, gouache, pastel paint, pencil, charcoal and markers; his sculptures are made of wood. He also did scenery and engravings (mainly xylographs, etchings and dry points).
For Cogorno, who loved the intense tones, the color of sensuality was crucial: “The brightness of a picture is the most important part: I, from the outset, have to fight, so the final paint is very bright,” he said. He added: “Color is like jewelery: shiny. The color must shine, you have to feel and respect the character of pigmentation, regulating the mixture of color, oil, and turpentine; to give it a special fluidity to the palette “.
Cogorno considered that “the gesture of making art, of any kind, was a gesture of generosity.” He said that anyone who did not have that absolute surrender could only become a small artist.
Sculpture, like painting, placed in the center of the scene the woman. The carved “Quebracho” wood , “palo santo” or “Olivo” that he would look into northern Argentina: sculptural pieces make up the African art with the pre-Columbian. And, for eighty years Cogorno continued chopping wood blocks for his sculptures.
He carved, painted and drew women. That was his passion. With the most diverse techniques, he made them alone, in groups of different social conditions. “She always appears in all periods of art history; is a constant that a woman is painted as poets who write about life, death and love, “said the artist.
Viñals José, Cogorno 1975. Palabra e imagen. Argentina: Image Gallery of Art, 1975.
-National Museum of Fine Arts, El desnudo: 19-20 centuries. (Exhibition held with 113 works at the National Museum of Fine Arts in Buenos Aires (MNBA), from August 11 to September 11, 1972. Argentina: AAMNBA, 1972.
Teresa Anchorena (coord.), Cien obras maestras: cien pintores argentinos, 1810-1994. (Exhibition held at the National Museum of Fine Arts in Buenos Aires (MNBA) in September and October 1994. Buenos Aires: Editorial Gaglianone, 1994.
-National Academy of Fine Arts, Historia general del arte en la Argentina. Buenos Aires: National Academy of Fine Arts, 2003.
-Catholic Argentinian University, Arte sacro argentino. (Exposition held at the Fine Arts Pavilion, UCA, Buenos Aires, April, May and June 2003). Buenos Aires: Artes Gráficas Ronor, 2003.
-Cavanagh Cecilia, Arte Figuraciones, abstracciones, informalismos y neofiguraciones. (Exhibition held at the Pavilion of Arts – UCA, Buenos Aires, from July 21 to September 4, 2011). EDUCA Editorial Universidad Católica Argentina, 2011.
-Sonderéguer Mary, Revista Crisis (1973-1976) Antología del intelectual comprometido al intelectual revolucionario. Bernal: National University of Quilmes, 2011.