No date (c. 1949). Item #106591
This is a rare manuscript with some notations by Raul Lozza. Raúl Lozza, an Argentine painter, craftsman, and illustrator, was born on October 27, 1911, in Alberti, Buenos Aires Province. He was a founding member of the Asociación de Arte Concreto-Invención, a non-figurative group, as well as the creator of perceptismo, a theory of color and open structure in painting that he called "cualimetría de la forma plana." To my knowledge this has never been published. "Raúl Lozza’s sixty-year painting career was dedicated to the exploration and radical development of the concept of Concretism as defined by European painters before and immediately after World War II. Lozza joined the Buenos Aires–based Asociación Arte Concreto-Invención (Concrete-Invention Art Association) in 1945. Inspired by Piet Mondrian, Theo van Doesburg, and the Swiss artist Max Bill, members of the Asociación advocated for their own brand of what van Doesburg called Art Concreto, which he defined as a kind of art “constructed of purely plastic elements (lines, planes, surfaces, colors); devoid of references to nature, lyricism, symbolism, and the unconscious; and with no significance beyond itself.”1 The Asociación’s 1946 “Manifesto Invencionista [Inventionist Manifesto]” of which Lozza was a signatory, echoes van Doesburg’s call for a detachment from objects in nature, condemning “the illusion of representation” in favor of what the group calls the “scientific aesthetics of invention.”2 Lozza broke away from the Asociación two years later in order to create his own movement, which he called “Perceptismo,” or “Perceptism” in English. Consisting of but four people, two of whom were Lozza’s brothers, the group shared the Asociación’s Concretist point of view but expanded it beyond the confines of the canvas and stretcher. Its members advocated the complete rejection of the frame and the concomitant idea of a painting as a window. Instead, they favored what Lozza called “walls of color,” which were conceived of as actual walls painted in monochrome, upon which forms floated in relief. In practice, Lozza’s concept of a continuous wall of color was translated into paintings with smooth monochromic fields that traversed unbroken from one edge of the work’s surface to another, but the desire for pictorial elements—particularly color—to escape the confines of the canvas and colonize architectural space was prescient, presaging Neo-Concretism, the Brazilian-born movement that, more than a decade later, would bring color and shape into three-dimensional space." By (Laura Hoptman Posted on January 11, 2017 MOMAhttp://post.at.moma.org/content_items/946-raul-lozza-s-invention-no-150.) Below is a link to his biography. http://museolozza.com.ar/raul-lozza/biografia/.