Printed image and social action. The decoration of the book from the interior of Atalaya’s cultural project (1922-1927)
Imagen impresa y acción social. La decoración del libro al interior del proyecto cultural de Atalaya (1922-1927)
Imagem impressa e ação social. A ilustração do livro no interior do projeto cultural de Atalaya (1922-1927)
| 2018 | |
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engraving book decoration anarchism Atalaya (Alfredo Chiabra Acosta) Campana de Palo Press Argentina. grabado decoración del libro anarquismo Atalaya (Alfredo Chiabra Acosta) Editorial de la Campana Argentina. |
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| Español | |
| Universidad ORT Uruguay | |
| RAD | |
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https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2701
http://hdl.handle.net/20.500.11968/3476 |
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| Acceso abierto | |
| Derechos de autor 2018 Inmediaciones de la Comunicación |
| Sumario: | Atalaya (Alfredo Chiabra Acosta) represented one of the fundamental actors for art criticism within the framework of the avant-garde renovating trends of the 1920s. However, enrolled in the ranks of anarchism since his youth, he forged from his critical work a defense of those artistic expressions considered “minor”, especially the engraving, aspect that had been central to the libertarian aesthetic in its mission to break with the barrier between art and people. At a time when the anarchist movement reorganized its newspapers and its doctrinaire work and art seemed no longer to be at the order of the day from a practical point of view, Atalaya set out to promote a revaluation of art’s revolutionary aspect in the Suplemento Semanal of La Protesta (1922-1926). Book decoration and its illustration through engravings acquired a significant dimension in its critical reflection. These values placed in the world of books had its effective concretion when in 1926 he founded the Editorial de la Campana de Palo. The aim of this paper is to approach, in the first place, the theoretical-critical reflection of Atalaya regarding the book decoration and, secondly, to analyze the role of the Editorial de la Campana within the framework of the leftist culture of 1920. |
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