Mila Bravo Aguilar
"The red tablecloth".
Oil on canvas.
It has an exhibition label on the back "Plastic Arts Salon. Manuel Belgrano, Buenos Aires".
It presents slight marks on the pictorial layer.
Signed in the lower right corner. Signed and titled on the back.
Measurements: 78 x 88 cm.
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DESCRIPTION
MILA BRAVO AGUILAR (Buenos Aires, 1900- 1974).
"The red tablecloth".
Oil on canvas.
It has an exhibition label on the back "Plastic Arts Salon. Manuel Belgrano, Buenos Aires".
It presents slight marks on the pictorial layer.
Signed in the lower right corner. Signed and titled on the back.
Measurements: 78 x 88 cm.
Born in Buenos Aires in 1900 and died in La Falda, province of Córdoba, in 1974, Mila Bravo Aguilar developed a solid formation in plastic arts from 1934, studying with diverse particular teachers until 1939. From 1940 onwards, she focused predominantly on painting, a discipline in which she consolidated a sustained career. Her travels of study and improvement took her to Uruguay, Brazil, Spain, Italy, France and Switzerland, where she had access to contemporary languages and aesthetic debates. She complemented this training with advanced courses given by important figures in the Argentine artistic field, among them Vicente Puig, Juan Batlle Planas, Raquel Forner, Héctor Basaldúa and Antonio Chiavetti.
Since 1962 he began to participate regularly in national and provincial salons, becoming fully integrated in the institutional circuit of Argentine art. In 1970 he was part of the exhibition Five Argentine Painters, presented at the Witcomb Gallery, one of the most significant spaces of the time. His production received important recognitions, among them the Third Acquisition Prize at the Salón Municipal Manuel Belgrano (1965) and the Silver Medal at the Salón Anual Nacional de Pintura de Villa María, province of Córdoba (1972).
In stylistic terms, his work began within a figuration of traditional bias, to later approach the postulates of cubism, which shows an evolution in line with the transformations of artistic modernity in Argentina. His career has been documented in specialized sources such as Córdova Iturburu's Ochenta Años de Pintura Argentina (Eighty Years of Argentine Painting) (Editorial Librería de la Ciudad, Buenos Aires, 1978) and in the Catalog of the Pío Collivadino Painting Contest of the First Salon of the Compañía Italo Argentina de Electricidad (1969).
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