Party at the countryside

Commentary of the picture:

At the beginning of the 20th century, the American continent was moving in step with the art trends evolving in Europe, especially in the arts hub of París. Different schools, such as the American lmpressionists, were bringing artists together, many from North America but also from Latín America, including Pedro Figari. Figari was also part of the current in Latin American paintíng, along with Fernando Botero, Joaquín Torres García and the iconic Diego Rivera and Frida Kahlo.

Figari’s position within the American lmpressionist movement was based not only on his painting skills but also his actívism and political work, as well as his spirit of Americanism. Pedro Figari was born in Uruguay in 1861, studied law and became involved in national politics, being appointed Defender of the Poor in 1889. He also devoted himself to writing and philosophy throughout his lite.

His painting career did not start until 1918, when his management of the art school Escuela de Artes y Oficios failed and family problems arose.

A few years later, he decided to move to Argentina with five of his children and developed his own personal style, exhibiting in several galleries in Buenos Aires and achieving success in sales and critical reviews.
In 1925, he moved to París where he established himself as a painter. During his stay, he spent time with Joaquín Torres García and Rafael Barradas, both Uruguayan, who introduced him to the world of Parisian art. lt was not long before he won praise from his most illustrious colleagues, including Pierre Bonnard, Édouard Vuillard, Pablo Picasso and Fernand Léger.

In the work Party at the Countryside, Pedro Figari represents a traditional scene that is typical of his country, with a festive setting on several planes. Note the large group of people in the centre, contrasting with the couple sitting apart on the left-hand side and the horses milling around on the right. Overarching and framing the whole scene are huge trees that enhance the work against an expanse of night sky crowned by a small full moon. A notable feature of his technique is his personal vision of Primitivism ar Nativism, which he developed in earnest, with the aim of revindicating the Pre Columbian origins of his continent. He uses a very modern plastic language to recount very traditional scenes. This contrast, whereby he defended Modernist art, brought him success in Latín American and European society. With a nebulous pictorial language, Figari searches for his roots through dense, richly-coloured paintings that come very close to Post-lmpressionism.

His spontaneous use of the paintbrush gave him an originality that current generations can still understand, thanks to this Primitivist perspective which has become synonymous with Pedro Figari.

Guillermo Cervera