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During his stay in Buenos Aires in 1939, Jorge Oteiza promoted the artistic information service The art walk, a consequence of which are his Minutogramas. They are close to the comic aesthetic, show a remarkable interest in graphic design, and display a discourse that echoes Surrealism and the “ramonismo” of Ramón Gómez de la Serna. In this way, the sculptor provides some keys to understanding his aesthetic thinking: his belief in the universal values of Geometry following in the footsteps of Leonardo; Nature as the foundation for sculptural creation which he discovers in Maillol, Zadkine, Alberto and Erzia; his admiration for El Greco, Velázquez and Goya as Hispanic models; the recognition of Cézanne as the father of Contemporary Art and the teachings of Hans Arp, constitute some of the themes found in his Minutogramas, in which he also manifests his humanistic dimension in several areas of knowledge.

En 1935 el escultor Jorge Oteiza (1908-2003) embarca rumbo a Buenos Aires e inicia un periplo vital por diversos países sudamericanos hasta su retorno en 1948. Si bien su objetivo era elaborar una nueva propuesta estética basada en la escultura precolombina y en el muralismo mexicano, no se cerró a otros lenguajes artísticos como el Barroco, acerca del cual Hispanoamérica le concedió la posibilidad de ver, leer, reflexionar y escribir. A partir de sus conferencias pronunciadas en Bogotá en 1946, desarrolla su teoría sobre el Barroco hispano en la que la "rebeldía" de El Greco, la "arquitectura del vacío" de Velázquez y la "genial torpeza" de Goya definen buena parte de su posterior devenir artístico, insertándolos en un discurso global que culmina con Picasso. Su regreso supone el reencuentro con todos ellos, en especial con Velázquez, patente en su proyecto de monumento a Felipe IV de San Sebastián. In 1935, the sculptor Jorge Oteiza (1908-2003) embarks for Buenos Aires and begins a life-long journey through several South American countries until his return in 1948. Although his goal was to develop a new aesthetic proposal based on Pre-Columbian sculpture and Mexican muralism, he did not shy away from other artistic languages such as the Baroque, which Latin America granted him the ability to see, read, reflect, and write. From his conferences given in Bogotá in 1946, Oteiza develops his theory of the Hispanic Baroque, in which the "rebellion" of El Greco, the "architecture vacuum" of Velázquez and the "great stupidity" of Goya define much of his subsequent artistic evolution, inserted into a global speech ending with Picasso. His return supposes a reuniting with all of them, especially with Velázquez, evident in his Felipe IV monument in San Sebastián. Área de Historia del Arte, UPO Preprint

En 1935 el escultor Jorge Oteiza (1908-2003) embarca rumbo a Buenos Aires e inicia un periplo vital por diversos países sudamericanos hasta su retorno en 1948. Si bien su objetivo era elaborar una nueva propuesta estética basada en la escultura precolombina y en el muralismo mexicano, no se cerró a otros lenguajes artísticos como el Barroco, acerca del cual Hispanoamérica le concedió la posibilidad de ver, leer, reflexionar y escribir. A partir de sus conferencias pronunciadas en Bogotá en 1946, desarrolla su teoría sobre el Barroco hispano en la que la "rebeldía" de El Greco, la "arquitectura del vacío" de Velázquez y la "genial torpeza" de Goya definen buena parte de su posterior devenir artístico, insertándolos en un discurso global que culmina con Picasso. Su regreso supone el reencuentro con todos ellos, en especial con Velázquez, patente en su proyecto de monumento a Felipe IV de San Sebastián., In 1935, the sculptor Jorge Oteiza (1908-2003) embarks for Buenos Aires and begins a life-long journey through several South American countries until his return in 1948. Although his goal was to develop a new aesthetic proposal based on Pre-Columbian sculpture and Mexican muralism, he did not shy away from other artistic languages such as the Baroque, which Latin America granted him the ability to see, read, reflect, and write. From his conferences given in Bogotá in 1946, Oteiza develops his theory of the Hispanic Baroque, in which the "rebellion" of El Greco, the "architecture vacuum" of Velázquez and the "great stupidity" of Goya define much of his subsequent artistic evolution, inserted into a global speech ending with Picasso. His return supposes a reuniting with all of them, especially with Velázquez, evident in his Felipe IV monument in San Sebastián., Área de Historia del Arte, UPO, Preprint

Durante su estancia en Buenos Aires en 1939, Jorge Oteiza promovió el servicio de información artística El Arte marcha, resultado del cual son los Minutogramas, en los que con una estética cercana al cómic, un marcado interés por el grafismo y un discurso al que no son ajenos los ecos del surrealismo y del “ramonismo” de Gómez de la Serna, aporta diversas claves de su pensamiento estético. Su fe en los valores universales de la geometría de la mano de Leonardo, la naturaleza como fundamento de la creación escultórica que descubre en Maillol, Zadkine, Alberto y Erzia, su admiración hacia El Greco, Velázquez y Goya como referentes hispanos, el reconocimiento de Cézanne como el padre del Arte Contemporáneo y el magisterio de Hans Arp constituyen otros tantos asuntos de sus Minutogramas, en los que manifiesta igualmente su dimensión humanista que abarca múltiples áreas de conocimiento. During his stay in Buenos Aires in 1939, Jorge Oteiza promoted the artistic information service The art walk, a consequence of which are his Minutogramas. They are close to the comic aesthetic, show a remarkable interest in graphic design, and display a discourse that echoes Surrealism and the “ramonismo” of Ramón Gómez de la Serna. In this way, the sculptor provides some keys to understanding his aesthetic thinking: his belief in the universal values of Geometry following in the footsteps of Leonardo; Nature as the foundation for sculptural creation which he discovers in Maillol, Zadkine, Alberto and Erzia; his admiration for El Greco, Velázquez and Goya as Hispanic models; the recognition of Cézanne as the father of Contemporary Art and the teachings of Hans Arp, constitute some of the themes found in his Minutogramas, in which he also manifests his humanistic dimension in several areas of knowledge