INVENTORY OF THE JULIO PAYRO LETTERS RECEIVED, 1937-1971, bulk 1940-1955

Finding Aid prepared by Onica Busuioceanu
Getty Research Institute
Research Library
Special Collections and Visual Resources
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Los Angeles, CA 90049-1688
Phone: (310) 440-7390
Fax: (310) 440-7780
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©2007
J. Paul Getty Trust

INVENTORY OF JULIO PAYRO LETTERS RECEIVED, 1937-1971, bulk 1940-1955

Accession no. 990020

Finding aid prepared by Onica Busuioceanu
Getty Research Institute

Contact Information:

  • Getty Research Institute
  • Research Library
  • Special Collections and Visual Resources
  • 1200 Getty Center Drive, Suite 1100
  • Los Angeles, California 90049-1688
  • Phone: (310) 440-7390
  • Fax: (310) 440-7780
  • Email requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
  • URL: http://www.getty.edu/research/conducting_research/library/
Processed by:
Onica Busuioceanu
Date Completed:
2005
Encoded by:
Techbooks
©2007 J. Paul Getty Trust

Descriptive Summary

Title: Julio Payró letters received
Dates: 1937-1971
Dates: 1940-1955
Collection number: 990020
Collector: Payró, Julio E., 1899-1971
Extent: 354 items
Repository: Getty Research Institute
Research Libary
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, CA 90049-1688
Abstract: The collection comprises 354 letters from 116 correspondents sent to the Argentine art critic Julio Payró between 1937 and 1971.
Request Materials: To access physical materials on site, go to the library catalog record  for this collection and click "Request an Item." Click here for access policy .
Language: Collection material is in Spanish.

Administrative Information

Access

Open for use by qualified researchers.

Publication Rights

Preferred Citation

Julio Payró letters received, 1937-1971, bulk 1940-1955, Research Library, The Getty Research Institute, Accession no. 990020

Acquisition Information

Received 1999

Processing History

Processed by Onica Busuioceanu

Related Materials

Pettoruti, Emilio, Letters to Julio Payró, 1924-1957, bulk 1952-1957, Research Library, The Getty Research Institute, Accession no. 2001.M.18

Biographical / Historical Note

Julio Payró began his career as a painter, studying with the Uruguayan artist Joaquín Torres-García in Paris and Barcelona (1907), then with William de Gouve in Brussels from 1912 to 1918, after which he returned to Buenos Aires. In 1928 he decided to work solely as an art critic, building a reputation as a major analyst of 20th century art movements in Argentina and Latin America.

Scope and Content of Collection

The collection comprises 354 letters from 116 correspondents sent to the Argentine art critic Julio Payró between 1937 and 1971. There are 7 letters by Payró: one is a carbon copy, the others are written as answers on the backs of letters received. Two thirds of the correspondents are artists, mostly from Argentina and a few other Southern American countries; some are European-born émigrés to South America. The other third are intellectuals, including art critics and historians, writers, editors, publishers, anthropologists, poets, scholars, journalists, professors, art collectors, sociologists, and the Chilean dancer Ana Itelman.
With rare exceptions, the correspondents are thanking Payró for helping them to get grants for studies in Europe, or financial help to publish their works. Most of them are grateful for Payró's reviews of their works. The artists write to Payró about their struggles in Paris, their work, their hopes, their exhibitions. The group of 40 letters in this collection related to Payro's book Veintidos Pintores, published in 1944, documents his dedication to promoting modern art in Argentina.
Among the most significant letters are those from the painter and poet Eduardo Jonquieres (19), the writer Eduardo Mallea (7), Victoria Ocampo, the founder of the Sur review (9), the Uruguyan writer Juan Carlos Onetti (48), the Argentine artist Luís Seoane (3), the Uruguyan painter Joaquín Torres-García (9), and 23 from the Argentine painter Emilio Pettoruti, whose correspondence of earlier years is also in the Getty Research Library (Special collections accession number 2001.M.18.)

Arrangement

Arranged alphabetically.

Indexing Terms

Subjects - Names

Castro, Sergio de, 1922- --Correspondence
Jonquieres, Eduardo--Correspondence
Mallea, Eduardo, 1903-1982--Correspondence
Ocampo, Victoria, 1890-1979--Correspondence
Onetti, Juan Carlos, 1909-1994--Correspondence
Pettoruti, Emilio, 1892-1971--Correspondence
Seoane, Luis--Correspondence
Torres-García, Joaquín, - 1874-1949 --Correspondence

Subjects - Topics

Authors ‡z Argentina ‡v Correspondence
Artists ‡z Argentina ‡v Correspondence
Artists ‡z Uruguay ‡v Correspondence
Authors ‡z Uruguay ‡v Correspondence
Art critics ‡z Argentina ‡v Correspondence
Painters ‡z Argentina ‡v Correspondence
Painters ‡z Uruguay ‡v Correspondence
Sculptors ‡z Argentina ‡v Correspondence

Contributors

De Castro, Sergio, 1922
Jonquieres, Eduardo, 1918-2000
Mallea, Eduardo, 1903-1982
Ocampo, Victoria, 1890-1979
Onetti, Juan Carlos, 1909-1994
Pettoruti, Emilio, 1892-1971
Seoane, Luis
Torres-García, Joaquín, - 1874-1949

Titles

Sur Veintidos Pintores


Box 1, Folder 1

Acosta, Vladimiro, 1955 Feb 17

Physical Description: 1 letter

Scope and Content Note

The architect (1900-1967) writes Payró from Los Angeles, where he works in construction, learning to deal with wood and stucco. Describes his impressions about this “large village” full of dazzling contrasts.
Box 1, Folder 1

Anderson Imbert, Enrique, 1941-1943

Physical Description: 5 letters

Scope and Content Note

The writer and critic (b.1910) is working on an essay about Payró's father, the novelist Roberto Payró. His letters are all about this important author, whom he will also present at his University courses in Tucumán.
Box 1, Folder 1

Aran, Artemio, 1951 Nov. 20,

Physical Description: 1 letter

Scope and Content Note

The painter and writer (b.1899) thanks Payró for sending him the wonderful book by Larra he has read with delight.
Box 1, Folder 1

Badii, Libero, 1962 Oct. 15

Physical Description: 1 letter

Scope and Content Note

The sculptor and painter (b. 1916) confesses that, despite the public success of his exhibition, he returns to his studio with concern that his art has not reached yet the desired level. The letter is illustrated on the verso with a cityscape in ink.
Box 1, Folder 2

Baitler, Zoma, 1950 Sept. 26

Physical Description: 1 letter

Scope and Content Note

The painter (1908-1994) is grateful to Payró for the interpretation of his art, and to his master Torres García for his guidance.
Box 1, Folder 2

Battle Planas, Juan, 1956 Aug 22

Physical Description: 1 letter

Scope and Content Note

The painter (1911-1966) informs Payró that he is sending 3 works to the exhibition presented at San Martin Library, listing the titles, sizes and prices.
Box 1, Folder 2

Beristayn, Jorge, 1940 Sept 6

Physical Description: 1 letter

Scope and Content Note

The artist (1894-1964) thanks Payró for the essay he published about his work.
Box 1, Folder 2

Berni, Antonio, 1945 May 7

Physical Description: 1 letter

Scope and Content Note

The neo-realist artist (1905-1981) refuses to send photos of works for Payró's dissertation at Michigan University, because he does not understand modern art neither from the historical nor aesthetic points of view.
Box 1, Folder 2

Bianco, José, undated

Physical Description: 2 letters

Scope and Content Note

The writer (1909-1986) sends Payró two letters with explanations and excuses regarding a supposed offense.
Box 1, Folder 2

Bigatti, Alfredo, 1941-1944

Physical Description: 4 letters

Scope and Content Note

The sculptor (1898-1964) thanks Payró for the presentation of his work, emphasizing the importance of meeting someone who, by his thinking, helps him understand and realize his potential. Two letters are signed together with Raquel Torres.
Box 1, Folder 3

Bonome Alejandro, 1951 Feb 17

Physical Description: 1 letter

Scope and Content Note

The artist (b. 1915) informs Payró how he would like to schedule his exhibitions after the one opening in Witcombe this year. (Córdoba)
Box 1, Folder 3

Bouts, Bernard, Buenos Aires, 1949 July 5

Physical Description: 1 letter

Scope and Content Note

The painter and sculptor (1909-1987) invites Payró to his studio to see his work and tell him his opinion, although they generally do not agree. Payró transcribed his answer in French on Bout's letter.
Box 1, Folder 3

Brughetti, Romualdo, Buenos Aires, 1945-1952

Physical Description: 4 letters

Scope and Content Note

The art critic and author (1912-2003) congratulates Payró for his book
Veintidos pintores, published in 1944. Invites him to give a lecture at the Sociedad Argentina de Escritores. In 1952criticizes him for omitting the important contribution of Argentine artists in the 1901-1911 decade, as well as of the painter Faustino Brughetti. Thanks Payró for the kind words about his recent work “Italia y el arte Argentino.”
Box 1, Folder 3

Butler, Horacio, Buenos Aires, 1940-1968

Physical Description: 4 letters

Scope and Content Note

The painter and stage designer (1897-1983) thanks Payró for the catalog introduction of his Ateneo de la Boca exhibition. In 1964 he declines the invitation to participate in the Venice Biennial. In 1968 he thanks Payró whose words have given him the illusion that, even at 71, his work is still worth exhibiting.
Box 1, Folder 4

Candia, Domingo, Paris, 1949 Dec 28

Physical Description: 1 letter

Scope and Content Note

The constructivist painter (b. 1897) has doubts about his art, and must start anew.
Box 1, Folder 4

Cañas, Carlo, Buenos Aires, 1962 Apr 15

Physical Description: 1 letter

Scope and Content Note

The painter (b. 1928), recently returned from Europe, asks Payró to do him the favor of an introduction for the catalog of his first exhibition.
Box 1, Folder 4

Careño, Annibal, New York, 1949 Nov 17

Physical Description: 1 letter

Scope and Content Note

Writes Payró that he works hard, painting and also teaching at the New School. Describes exhibitions seen, declaring that the dealers have “a bad time,” as people are buying cars, frigidaires, and TV sets.
Box 1, Folder 4

Centurion, Emilio, Buenos Aires, 1944 Dec 24

Physical Description: 1 letter

Scope and Content Note

The portrait painter (1894-1970) highly appreciates Payró's understanding and impartiality about his work.
Box 1, Folder 4

Cochet, Gustavo, Funes, 1957 Aug 15

Physical Description: 3 letters

Scope and Content Note

The artist (1894-1979) complains about Gomez Cornet who rejected the works he had sent to the salon of Tucumán, and encloses a copy of his reply to Cornet. Both are on letterhead with reproductions of his works.
Box 1, Folder 5

Córdova, Iturburu Cayetano, Buenos Aires, 1970 May 19

Physical Description: 1 letter

Scope and Content Note

The Argentine writer and art critic (1902-1977) answers a pessimistic letter from his old friend Payró, reminding him that his merits have been fully recognized.
Box 1, Folder 5

Coutaret, Manuel Emilio, Córdoba, 1940 Dec 17

Physical Description: 1 letter

Scope and Content Note

The painter (1892-1971) thanks Payró for the review of the XXX Salon. The critic had justly perceived in his work the hesitations, which will continue until he finds his own “estructura formal”.
Box 1, Folder 5

Couture, Eduardo, J., Montevideo, 1952 Feb 5

Physical Description: 1 letter

Scope and Content Note

The Uruguayan jurist (1904-1956) congratulates Payró on his excellent introduction to the beautiful book about Florence by Perrens.
Box 1, Folder 5

Castro, Josué de, Rio de Janeiro, 1950 Jul 17, 1950 Jul 30

Physical Description: 2 letters

Scope and Content Note

The Brazilian anthropologist (1908-1973) sends two letters to Payró thanking him for the wonderful translation of his book Geografia da Fome [Geography of hunger]. Letterhead of Instituto de Nutriçao, Universidade do Brasil.
Box 1, Folder 6-9

Castro, Sergio de, Paris, 1952-1964

Physical Description: 46 items

Scope and Content Note

The Argentine painter, settled in Paris from 1949, sends Payró 28 letters from 1952 to 1964. The art critic organizes for De Castro exhibitions in Buenos Aires and Montevideo, selling his work mostly through the Bonino gallery in Buenos Aires. The artist informs Payró about his exhibitions in Paris and their reviews, his success with the public, and the 300,000 Fr. he made selling his work. He also describes his new techniques as he changes them over the years. The collection includes lists and sales catalogs from Buenos Aires galleries Bonino and Van Riel, with prices, and 4 photographs of the artist with some of his works.
Box 1, Folder 10

Delhez, Victor, Chacras de Coria, 1941

Physical Description: 3 letters

Scope and Content Note

The engraver and illustrator (1902-1985) discusses in two aggressive long letters the critical review published by Payró in Sur about his xylographic illustrations to the Gospel. The second letter was triggered by Payró's answer to the offended artist, also included in the collection.
Box 1, Folder 10

Delvaux, Paul, [Brussels], 1953 Feb 21

Physical Description: 1 letter

Scope and Content Note

The surrealist Belgian painter (1894-1994) writes, in French, a nostalgic letter to his friend about the years when they were studying painting in Brussels. He brings him up to date about his family, his work, and his ideas about modern art.
Box 1, Folder 10

Domínguez, Lorenzo, Mendoza, 1962

Physical Description: 3 items

Scope and Content Note

The sculptor (1901-1963) needs help from the Fondo Nacional de las Artes for the publication of his book about the petroglyphs and pictographs on Easter Island. He is also preparing an exhibition of his own work. A clipping from Los Andes daily of 25 March 1962 reproduces the third talk with professor Domínguez about Easter Island .
Box 1, Folder 10

Echagüe, Juan Pablo, undated

Physical Description: 1 letter

Scope and Content Note

The president of the Comisión Protectora de Bibliotecas Populares congratulates Payró for his brilliant presentation of Delacroix he gave on their radio program.
Box 1, Folder 10

Editorial Losada, Buenos Aires, 1941 Mar 11

Physical Description: 1 letter

Scope and Content Note

Contract between the publisher Losada and Julio Payró for a book about the Argentine painter Raquel Forner, to be published in the new collection of Monografías de Arte.
Box 1, Folder 10

Erro, Carlos Alberto, Buenos Aires, 1948 Apr 12

Physical Description: 1 letter

Scope and Content Note

The author and President of Sociedad Argentina de Escritores (1903-1968) comments on Payró's letter about politics and democracy.
Box 1, Folder 11

Farina, Ernesto, Cordoba, 1951 Feb 13

Physical Description: 1 letter

Scope and Content Note

The Argentine painter (b.1912) thanks Payró for suggesting the Bonino gallery for his exhibition, which Cordova Iturburu had already suggested.
Box 1, Folder 11

Ferrant, Angel, Madrid, 1952-1953

Physical Description: 5 items

Scope and Content Note

The Spanish sculptor (1890-1961) sends Payró 3 letters about his life and difficulties, his work and thoughts. The letter of April 1953 includes his thank you address to a donor of Puerto de la Cruz art museum. In September 1953 he congratulates his friend for the book about Impressionism. A Christmas card illustrated with one of his sculptures was sent on 25 December 1953.
Box 1, Folder 11

Forner, Raquel, Buenos Aires, 1946-1949

Physical Description: 3 letters

Scope and Content Note

The Argentine painter (1902-1988) thanks Payró for his understanding of the inner world of her painting, and his inspiring words. Congratulates him for his lecture about Goya and his rebellion against tyranny.
Box 1, Folder 12

Gálvez, Manuel, Buenos Aires, undated

Physical Description: 1 letter

Scope and Content Note

The renowned Argentine writer (1882-1962) informs Payró that his father, Roberto, sent in 1904 by La Nación to Montevideo to gather information about the revolution in Uruguay, wrote the articles signed “X Equis” in that periodical.
Box 1, Folder 12

Gigli, Lorenzo, San Fernando, 1965 Nov 28

Physical Description: 2 items

Scope and Content Note

The artist (1896-1983) sends a portrait of Payró's father, Roberto. It was among his works to be published that day, but could not be printed because of the crayon he had used on it.
Box 1, Folder 12

Girondo, Oliverio, 1949 Nov 17

Physical Description: 1 letter

Scope and Content Note

The poet, one of the Argentine avantgarde founders (1892-1967), answers Payró's questions, identifying some names. Confesses in joking style that he also paints, and sends a copy of his Veinte poemas as a sample.
Box 1, Folder 12

González, Garaño Alfredo, Buenos Aires, 1950 Aug 18

Physical Description: 1 letter

Scope and Content Note

The collector and member of the Academia National de Bellas Artes congratulates Payró for his article published in La Nación.
Box 1, Folder 13

Guardia, Alfredo de la, Buenos Aires, 1950-1969

Physical Description: 6 letters

Scope and Content Note

The letters cover a 20 year friendship that started in April 1950, when la Guardia was an editor at La Nación. He wrote at that time to Payró about the pleasure he had editing his essays, and his real talent as art critic. In his letters of the sixties, la Guardia, now a history of theater professor, and Pyró a recognized art critic, is glad they both abandoned the newspapers supplements for a more intellectual level of publications, but remembers nostalgically their talks at La Nación.
Box 1, Folder 13

Huyghe, René, 1948 Oct. 28

Physical Description: 1 letter

Scope and Content Note

The French art historian (1906-1997) thanks Payró for his book about Pettoruti, which offered him important information about the great Argentine painter (on letterhead of Direction des Musées de France).
Box 1, Folder 13

Itelman, Ana, Buenos Aires, 1949 Aug 26

Physical Description: 1 letter

Scope and Content Note

The Chilean dancer (1927-1989) regrets he did not attend her last two recitals, since his attention compensates for the lack of stimuli from an uneducated public.
Box 1, Folder 14-15

Jonquieres, Euardo, Paris and Piriápolis, 1959-1971

Physical Description: 19 letters

Scope and Content Note

The Argentine painter and author (1918-2000) writes from Paris, where he settled after 1958. The letters from 1959 and early sixties describe his busy life, earning money with illustrations and a job in a printing house, while doing his daily hours as an UNESCO counselor, also writing and painting a lot. In January 1961 he informs Payró that there are 40,000 painters in Paris, of which about 80 are Argentine. Most of the 6 letters from 1962 express Jonquiere's disappointment about current art and politics. That year he writes a book about Roberto Payró, the writer (his friend's father) to be published soon; participates in exhibitions, and abandons his geometrical painting for a totally new style. The seven letters from 1970-1971 were sent from the seaside resort of Piriapolis in Uruguay, between visits to Buenos Aires. His new book, Bestiario, will be published there the following year by the Fondo Nacional de las Artes.
Box 1, Folder 16

Kazuya, Sakai, Horco Molle, 1959

Physical Description: 2 letters

Scope and Content Note

The Argentine painter and scholar (b.1927?) writes about the courses and seminars he will be giving that academic year about the philosophy of visual arts in Japan, describing the main concepts to be analyzed. After the courses, he is finishing the translation of the introduction to the Buddhdistic Zen.
Box 1, Folder 16

Krasno, Rodolfo, Paris, 1960 Dec 17

Physical Description: 1 letter

Scope and Content Note

The painter and engraver (1926-1982) who is in Paris with a grant from Fondo de las Artes, asks Payró for one year extension to achieve his “perfeccionamiento en Europa.” Payro's note: “Contesté 17/12/60”
Box 1, Folder 16

Lacámera, Fortunato, Buenos Aires, 1946 Apr 10

Physical Description: 1 letter

Scope and Content Note

The artist (1887-1951) sends Payró a grateful note for his generous words about his modest work.
Box 1, Folder 16

Lange, Norah, [Buenos Aires], 1948 Oct 18

Physical Description: 1 letter

Scope and Content Note

The Argentine writer (1906-1972) invites Payró to a party at her home, where he will meet poets, writers and painters, including Pettoruti.
Box 1, Folder 16

Larco, Jorge, México, 1955 Dec 21

Physical Description: 1 letter

Scope and Content Note

The Argentine painter (1897-1967) is happy about the successful revolution and the fall of Perón. Congratulates his friend for the nomination in a high position he fully deserves.
Box 1, Folder 16

Larreta, Enrique, 1946 Jan 2

Physical Description: 1 letter

Scope and Content Note

The Argentine writer (1875-1962) informs Payró that he has been out of town for five months, and does not have photos of the two “chismes” he asked for. He will ask the photographer of theAcademia de Bellas Artes to do them.
Box 1, Folder 16

Le Parc, Julio, Paris, 1960 Apr 21

Physical Description: 1 letter

Scope and Content Note

The artist (b. 1928, one of the Groupe de Recherche d'Art Visuel founders in 1960) sends an enthusiastic answer to Payró, who has deeply understood his work.
Box 1, Folder 16

Lozza, Raúl, Buenos Aires, 1952 Sept

Physical Description: 1 letter

Scope and Content Note

The Argentine painter and author of new art theories (b. 1911) informs Payró that he has sent him all the issues of Perceptismo he had asked for, and would be glad to fully inform both critics and scholars about the goals of non-figurative art.
Box 1, Folder 17

Malanca, José, Córdoba, 1950 Aug 30

Physical Description: 1 letter

Scope and Content Note

The Argentine painter (1897-1967) invites Payró to the inauguration of his most important exhibition, although he knows that his impressionism cannot interest the critic.
Box 1, Folder 17

Mallea, Eduardo, Buenos Aires, 1941-1970

Physical Description: 8 letters

Scope and Content Note

One of the letters is from Payró. The letters speak of Payró's long friendship with an important Argentine author, the writer Eduardo Mallea (1903-1982). In a letter sent in the 40s, when Mallea was an editor at La Nación, he congratulates his friend for the translation of André Lhote's book Traîté du paysage. Another is an introduction letter for the Chilean surrealist painter and writer. In 1947 he informs Payró about some of his family portraits by Benjamin Franklin Rawson. In October 1970 Mallea sends an emotional answer to a letter from his lifetime friend, remembering his outstanding qualities and his moral and intellectual generosity. One week later, Payró answers in kind, with his own recollections.
Box 1, Folder 17

Mandello, Jeanne and Arno, Montevideo, 1950 July 13

Physical Description: 1 letter

Scope and Content Note

Thanks Payró for his letter and article. The latter will be a great introduction for their exhibition. Signed Jeanne et Arno Mandello, on letterhead Jeanne Mandello (in French).
Box 1, Folder 18

March, Horacio Gerardo, Buenos Aires, 1944 Sept 21

Physical Description: 1 letter

Scope and Content Note

The painter (1899-1978) thanks Payró for the letter about his drawings, and for the presentation at his exhibition in La Plata.
Box 1, Folder 18

Maria (unidentified), Paris, 1962

Physical Description: 5 letters

Scope and Content Note

The author of these letters is a close friend of Payró, and very close to the Argentine writer Julio Cortázar, who lives in Paris with his wife, the translator Aurora Bernádez, both mentioned in Maria's letters. She intends to write a play, and an essay about “La Simpatía,” but at Paryró's suggestion she is writing stories. Maria refers to Payró's answers, but it is not clear if all these letters were written to him. Each letter contains news about Julio Cortázar, whose latest novel, La Rayuela is to be published that year.
Box 1, Folder 18

Minujin, Marta, Paris, 1961-1962

Physical Description: 2 letters

Scope and Content Note

The young Argentine artist (b. 1941) thanks Payró after receiving a grant to see all the marvels of Paris. Describes her first steps and hard work, her first pieces accepted in an Argentine exhibit, her hope for a French government scholarship.
Box 1, Folder 18

Montenegro, Adelmo Ramón, Córdoba, 1952 May 14

Physical Description: 1 letter

Scope and Content Note

The art critic and university dean (b. 1911-1994) invites Payró to give a course of several classes about modern painting at the Ateneo Filosófico in Córdoba.
Box 1, Folder 18

Noel, Martin, Buenos Aires, 1949 May 30

Physical Description: 1 letter

Scope and Content Note

The art historian and architect (1888-1963) congratulates Payró for the honor (honrosa distinción) awarded him by the Academia de Artes y Letras of Havana (on letterhead Academia Nacional de Bellas Artes).
Box 1, Folder 18

Ocampo, Miguel, Buenos Aires, 1951 Sept 20

Physical Description: 2 items

Scope and Content Note

The Argentine painter (b.1922) thanks Payró for the letter of recommendation he wrote in support of his request for a grant to make a study trip to the United States. Payró's letter of 10 Sept. 1951 is included.
Box 1, Folder 19

Ocampo, Victoria, 1961-1971

Physical Description: 11 items

Scope and Content Note

The Argentine author (1890-1979), founder of the important Sur review, was a friend of Payró, a frequent contributor to that publication. Only 3 letters are dated (961, 1969 and 1971); they are a mixture of friendly thoughts and references to current events or publications. Six letters are related to Payró's contributions to “Sur,” written on letterhead of the review. An undated letter informs him about a lunch offered to Indira Gandhi and her retinue of 25 persons at the San Isidro residence of Ocampo, to which only some writers and musicians will be invited. An invitation for Payró and a business card of Mr. & Mrs. Rajeshwar Dayal are included (undated).
Box 1, Folder 19

Oenslager, Donald, New York, 1950-1960

Physical Description: 4 letters

Scope and Content Note

The American stage setting designer and author (1902-1975) was introduced to Payró by a letter signed by Henry Allen Moe, on letterhead of the Guggenheim Memorial Foundation, dated Jan. 23, 1950. An undated letter of Oenslager was obviously sent soon after his return from Buenos Aires to New York. He explains to Payró his professional projects, including the settings for several plays for the fall. He mentions that many projects of all kinds are now being delayed because of “our serious situation in Korea.”
Box 2, Folder 1-6

Onetti, Juan Carlos, 1937-1955

Physical Description: 48 letters

Scope and Content Note

The Uruguayan writer (1909-1994) worked as a journalist in Buenos Aires and Montevideo (where he made a living as a car salesman), and started to write books in 1939. The letters to Payró are a continued diary, which relates almost everything he did from 1937 to the late 40s, and almost everything he thought about, discussing artists and writers like Cézanne, Matisse, Faulkner, Maugham, Kipling, Proust, to name a few. The letters relate his enthusiasms and disillusions, his hopes and joys, alternating with pain and insecurity drowned in alcohol and tobacco. In 1938 he is scared by the fascist menace and its consequences in Europe and South America, where refugees from Eastern Europe start arriving. In 1941, with Payró's help, Onetti obtains a permanent position at the Reuter agency in Montevideo. He sends an undated happy letter to his friend in Buenos Aires after the fall of Peron's dictatorship in 1955. The collection includes a letter from his cousin and second wife, María Julia , from June 1938.
Box 2, Folder 7

Ortiz, Manuel Angeles, 1943 Jan 29

Physical Description: 1 letter

Scope and Content Note

The Spanish painter (1895-1984, saved by Picasso from a concentration camp in 1939), spent in Argentina his 9-year political exile. He informs Payró with deep regrets that he cannot attend his friend's celebration ceremony as he must leave town next day.
Box 2, Folder 7

Otta, Francisco, 1951 Nov 5

Physical Description: 1 letter

Scope and Content Note

The artist (1908-1999, settled in Chile) asks Payró if he could use the help he has promised him for opening an exhibition in Buenos Aires. His previous one in 1942 received very good reviews.
Box 2, Folder 8-9

Pettoruti, Emilio, 1963-1971

Physical Description: 23 letters

Scope and Content Note

The Argentine painter (1892-1971) continues his uninterrupted correspondence with his friend Payró after he settled in Paris in 1953 (for letters from 1943 to 1957 see Acc. no. 2001.M.18). In 1963 Petoruti writes about his work, his future exhibition, and the latest national and international politico-cultural gossip. In later years he will grow uneasy with American and European politics. In 1964 he is writing his memoirs to be published in 1966. Two years later he is changing the way he paints, his new works being much smaller. He asks Payró which of his works should remain in Argentina to represent his art. In the letter he sent him the year of his death, Pettoruti confesses that there is no card catalog of his works. His wife died while she was working on it and those papers were never found. A good wishes card of July 6 1961 is illustrated with a reproduction of his collage “Il sifone” from 1915.
Box 2, Folder 10

Pierri, Orlando, Buenos Aires, 1951 Feb 2

Physical Description: 1 letter

Scope and Content Note

The Argentine artist (1913-1992) informs Payró that he has changed his painting after the second trip to Europe, and would like to know his opinion. Invites him to his studio, and sends a few photos as samples.
Box 2, Folder 10

Piquet, Julio, 1944?

Physical Description: 1 letter

Scope and Content Note

The editor of La Nación, congratulates Payró for his study about Aduanero Rousseau, written in perfect prose, as a true son of his father.
Box 2, Folder 10

Pronsato, Domingo, Bahía Blanca, 1940 Dec 25

Physical Description: 1 letter

Scope and Content Note

The Argentine artist (1881-1971) is grateful to Payró for the analysis of his painting published in no. 74 of Sur. He, and the other two critics, Romero Brest and Amador, have come, through different means, to rather similar conclusions, which will guide him in his future work.
Box 2, Folder 10

Rebay, Hilla, New York, 1949?

Physical Description: 2 items

Scope and Content Note

The collector and Director of the Guggenheim Foundation sends Payró a hectic letter written in various directions as she added new pieces of information. She is offering him color slides he could use for his lectures about the Foundation's paintings and Kandinsky. She describes the new museum. On the corner of the first page she added a chronology of her collecting. She sends a photograph of herself at her home in Greens Farms, Connecticut is dated Easter 1949.
Box 2, Folder 10

Rebuffo, Victor L., Buenos Aires, 1945, 1951

Physical Description: 2 letters

Scope and Content Note

The artist (1903-1983) sends Payró six photos of his works, instead of those printed on transparent Japanese paper, which could not have been useful for his purpose. Both letters convey Rebuffo's congratulations to Pairó for honors received.
Box 2, Folder 10

Rinaldini, Julio, Buenos Aires, 1946 Sept 5

Physical Description: 1 letter

Scope and Content Note

The art critic tells Payró that he needs to further consider their possible collaboration.
Box 2, Folder 10

Rojas Paz, Pablo, Buenos Aires, 1951-1953

Physical Description: 2 letters

Scope and Content Note

The Argentine writer (1896-1956) sends a long, friendly and ironic letter about himself, his writing, and other writers. The second letter (1953) accuses Payró of some offence related to writers who published in Sur review. Payró wrote his own answer on the back of the letter, denying the allegation.
Box 2, Folder 10

Roman Rojas, Samuel, Santiago, 1950 June 30

Physical Description: 1 letter

Scope and Content Note

The Chilean sculptor (1907-1990) is happy that Payró intends to write a monograph about him. That would help him continue his work despite his enemies at the University. A letter to the sub-secretary, a friend of Payró, about the book he is planning would also strengthen his economic situation with the Public Administration, now rather shaky.
Box 2, Folder 11

Romero-Brest, Jorge, Buenos Aires, 1969 Sept 23

Physical Description: 1 letter

Scope and Content Note

The influent Argentine art critic (1905-1989) apologizes for something published in Panorama about Pettoruti which offended Payró.
Box 2, Folder 11

Romero, José Luís, Adrogué, 1968-1969

Physical Description: 3 items

Scope and Content Note

The Argentine writer and historian (1909-1977) sends his friend a 2 page letter in verse, a thank you note for information about Scandinavian art, and a letter discussing some conceptual interpretations.
Box 2, Folder 11

Salazar, Toño, Montevideo, 1946 Oct 23

Physical Description: 1 letter

Scope and Content Note

The Salvadoran caricaturist (1900-1985) thanks Payró for the article he published in Qué about his “esperpentos” (ugly things).
Box 2, Folder 11

Sanchez, Ideal, Tucumán, 1949-1950

Physical Description: 2 letters

Scope and Content Note

The Argentine painter and engraver informs Payró that he has obtained exhibition space at the Gallery Müller in October. Payro's opinion about his art has made him feel more secure, and he will return to Buenos Aires, then try to go to Europe.
Box 2, Folder 11

Satanowsky, Isidro, Buenos Aires, 1943

Physical Description: 2 letters

Scope and Content Note

Julio Payró answers the request of Dr. Satanowsky to advise about the projects submitted by four artists for the mural decoration of the Sociedad Hebraica Argentina building. Dr. Satanovsky respectfully does not agree with his order of choices.
Box 2, Folder 11

Seoane, Luís, La Coruña (Spain), 1969-1970

Physical Description: 3 letters

Scope and Content Note

Three long letters from the Argentine artist (1910-1979) reflect his passionate temperament, his creative energy and his involvement in ethnic and social issues. He keeps Payró informed about his projects in Spain before and after a visit to Argentina and London in 1970. The third letter is mainly his comment about the famous 1969 English movie Alfred the Great.
Box 2, Folder 12

Serrano, Pablo, Montevideo, 1949 Sep 21

Physical Description: 1 letter

Scope and Content Note

The Spanish sculptor (1908-1985) informs Payró that he is preparing a stone relief for a Montevideo square. On letterhead with initialled drawing.
Box 2, Folder 12

Serrano Plaja, Arturo, [Buenos Aires], undated,

Physical Description: 1 letter

Scope and Content Note

The Spanish antifascist poet (1909-1979), who lived in exile, expresses his gratitude for the job he obtained at the Clarin thanks to Payró's help.
Box 2, Folder 12

Shand, William, Buenos Aires, 1948 Aug 13

Physical Description: 1 letter

Scope and Content Note

The Anglo-Argentine poet and writer (b. 1902) would like Payró to see the ten paintings made by his friend, the Dutch painter Bob Gesinus Visser, during his visit to Buenos Aires on his way to Paris.
Box 2, Folder 12

Sibellino, Antonio Silvestre, Buenos Aires, 1942-1953

Physical Description: 3 letters

Scope and Content Note

The three letters sent by the Argentine sculptor (1891-1960) to Payró over the years describe his thoughts about art, the gift of those involved in it and the times in which it is created. Thanks Payró for his article about sculpture published in Ars of July 1953, in which he generously gave a privileged place to Manes Curatella and to him.
Box 2, Folder 12

Spilimbergo, Lino Enea, Tucumán, 1949

Physical Description: 2 letters

Scope and Content Note

The Argentine artist (1896-1964) sent Payró both letters while he was the Director of the Instituto Superior de Artes of the National University in Tucumán. He could not obtain decent compensations for professors, so they cannot benefit from Payró's and another specialist's valuable courses.
Box 2, Folder 12

Svanascini, Osvaldo, Osaka, undated

Physical Description: 1 letter

Scope and Content Note

The Argentine art critic (b.1920) informs Payró about the extraordinary things he saw and learned on his trip to New York, Paris, Holland, Belgium, Italy, and Japan. On letterhead of International Hotel, Osaka.
Box 2, Folder 13

Torrallardona, Carlos, San Antonio de Padua, 1969 Mar 30

Physical Description: 1 letter

Scope and Content Note

The painter (1913-1986) is grateful to Payró for his homage.
Box 2, Folder 13

Torre Guillermo de, Buenos Aires, 1951 Jul 10, 1951 Jul 25

Physical Description: 2 letters

Scope and Content Note

These letters were sent by the writer (1900-1971) to Payró to coordinate the publication of the letters they will each send to Sur to be published in the same issue.
Box 2, Folder 13

Torres García, Joaquín, Montevideo, 1940-1944

Physical Description: 9 items

Scope and Content Note

The Uruguayan painter (1874-1949) keeps his friend Payró up to date with his activities, which for him mean painting and teaching. In 1940 he has happily adopted constructivism, which has led him to “cosas originalísimas.” In 1943 he has opened a 200 painting exhibition of his disciples' work. In 1944 he enjoys the most relevant successes: the Premio de Honor at the Salon, and an “homenaje” at the University for his 50 years of work “in and for” painting, his studio and his school. Payró is invited to give a speech (a letter from the Comisión Organizadora del Homenaje is included). In November 1944 the artist is ready to fight the enemies of constructivism, as half a million pesos allocated for school mural decoration is at stake. But he and his wife have been sick, and he is exhausted: “Julio, ya no puedo más - estoy enfermo y cansado de todo.”(Nov. 3, 1944).
Box 2, Folder 14

Ucar, Emilio, Montevideo, 1949, 1951

Physical Description: 2 letters

Scope and Content Note

The Uruguayan writer and editor (1910-1984) sends a 4 page letter of analysis of Payró's writings. The second letter expresses his gratitude for the text about French painters Payró sent to be published in their new review Resalto, and another text to come from Guillermo de Torre.
Box 2, Folder 14

Uriarte, Carlos Enrique, Rosario, 1948 July 18

Physical Description: 1 letter

Scope and Content Note

The painting professor at Bellas Artes school in Rosario thanks Payró for his lectures and for all he learned from their conversation.
Box 2, Folder 14

Urruchúa, Demetrio, Buenos Aires, 1945 May 10

Physical Description: 1 letter

Scope and Content Note

The painter and muralist (1902-1978) informs Payró that he has no photos of his works, and gives him a long list of museums and persons in the United States who could provide them at his request. He won't spend time on that, because he is not interested in critics, and does not believe that their words could have any impact on the fate of artists' creation.
Box 2, Folder 14

Valmaggia, Juan, Buenos Aires, 1948 Sept 15

Physical Description: 1 letter

Scope and Content Note

The editor of La Nación thanks Payró for the generous words written to him when he was in a difficult professional situation.
Box 2, Folder 14

Vergara Grez, Ramón, Santiago de Chile, 1956 May 10

Physical Description: 3 items

Scope and Content Note

The Chilean painter and author (b. 1923) tells Payró that he would like to meet him for some good talks about current art. Included: a photo of “Interior” with signed dedication on back from May 1956; a clipping from “El Mercurio” of Apr. 29, 1956 of an article and self portrait by the artist.
Box 2, Folder 14

Wagley, Charles Walter, Gurupá, Brasil, 1948 Aug 25

Physical Description: 1 letter

Scope and Content Note

The American anthropologist (1913-1991) informs Payró that he quit the Guggenheim Foundation last year to dedicate himself to teaching at Columbia University, and lately to four months of field research for UNESCO among the Brazilian population in the Amazon.
Box 2, Folder 14

Wilenski, R. H., London, 1948 Oct 5

Physical Description: 1 letter

Scope and Content Note

The British author tanks Payró for his book on Pettoruti. He has been working on a Dictionary of Painters, and he will need his help to include some important Argentine artists.
Box 2, Folder 14

Yepes, Eduardo Díaz, Montevideo, 1951, undated

Physical Description: 3 letters

Scope and Content Note

The sculptor (b. 1910 in Madrid) sends Payró a figurine he might publish for any price (Feb.1951). An undated letter tells Payró that his wonderful article about him immediately brought customers ready to buy or to place orders. A third letter announces that the Torres García exhibition will be open at the Instituto de Arte Moderno. He will soon send him photos of his last relief to be published in Cahiers d'Art (undated).
Box 2, Folder 14

Unidentified signature, Córdoba, 1951 May 11

Physical Description: 1 letter

Scope and Content Note

The artist thanks Payró for the exhibition catalog that includes a note about his 25 paintings.
Box 2, Folder 15-16

Correspondence related Veintidos Pintores, 1944

Scope and Content Note

The book by Julio E. Payró was published in Buenos Aires, Editorial Poseidon, Dec 1944. The file includes the template of the letter sent by Payró on June 1 1944 to the 22 artists he intended to present in the book, asking for their consent and specifying the necessary biographical information and reproductions of works to be published in the book. Each participant will receive a free copy of the book. There are 40 letters received: 18 of acceptance, dated from June 1944, and 13 of thanks for the book received in December. The other 9 letters are from artists complaining about difficulties in obtaining reproductions of their best works. Unrelated letters from ten artists included in the book have been described in the inventory under their names.
The 20 artists included in this book correspondence are: Aquiles Badi, J.A. Ballester Peña, Héctor Basaldúa, Norah Borges, Horacio Butler, Juan Carlos Castagnino, Emilio Centurión, Gustavo Cochet, Daneri Eugenio, Juan Del Prete, Raquel Forner, Ramón Gómez Cornet, Jorge Larco, Horacio Gerardo March, Onofrio A. Pacenza, Domingo Pronsato, Raúl Soldi, Lino Enea Spilimbergo, Alberto J. Trabucco, Miguel Carlos Victorica.