Pedro Figari

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Pedro Figari (June 29, 1861-1861) was a Uruguayan painter, lawyer, editor, and politician.

Despite the fact that he did not begin practicing in his later years, he is best known as an early modernist painter who emphasized capturing everyday life in his art.

He attempts to capture the essence of his family's house by painting local customs that he had observed in his childhood. Figari worked mainly from memory, a process that gives his work a more personal feeling.

His unique style, which called for painting without the intention of creating an illusion, sparked a revolution of identity in Latin America's art world, including Diego Rivera and Tarsila do Amaral.

Life and training

Pedro Figari was born in 1861. Although he showed an interest in art as a child, the bulk of his life was dedicated to the study of law. He received a law degree in 1886. His work as a defense counsel for the poor exposed him to a number of socioeconomic topics that most likely inspired his art later in life. Figari studied under Godofredo Sommavilla, an academically trained Italian painter, married and moved to France during the same year in which he received his diploma. He was exposed to Post-Impressionism, which also heavily influenced his art. "On his return to Uruguay, he became extremely interested in journalism, law, and politics, as well as supporting the construction of the Escuela de Bellas Artes." [...] He was a member of the Uruguayan Parliament, president of the Ateneo de Montevideo, and director of the Escuela Nacional de Artes y Oficios.

Though most agree that Figari did not begin to paint until his later life, he had already painted to a degree. His early paintings were "tight watercolor and oil sketches [that] had both academic success [and] the expert domestic intimacy of Manet and Degas].

Figari didn't dedicate himself entirely to painting until 1921, at the age of 60. He travelled to Buenos Aires and left behind the Italian style that he had adopted earlier in his career. "created figurative compositions as part of the Uruguayan scene's reconstruction rather than reporting it; the geography, gaucho life, the celebrations, symbolic rituals, and carnivals of the local black community; When he returned to Paris in 1925, he painted this subject matter from memory, which earned him the title of painter. His work appeared in the 1932 Summer Olympics as part of an art competition.

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