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
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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.
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.
