Abstract
Max Bill was an important reference in the field of art and architecture in Latin America. Unlike the synthesis of the arts, Max Bill was proposing a program based on “concrete art” and the idea of gute form, which sought to provide a common principle to the built environment that would guarantee its formal quality and harmony. This point was central to the reception of his ideas in Argentina. It was largely Tomás Maldonado who introduced these ideas. He presented Max Bill as a “total artist”, a sort of premonition of the “man of the future”, endowed with a capacity of coherence that would allow the synthesis not of the arts, but that of the artistic product with mass production.
Keywords
Modern Movement,
Modern architecture,
Art and architecture,
Modern art,
Max Bill,
Latin American modern architecture,
Concrete art.
Issue 42
Year 2010
Pages 100-109
DOI: https://dx.doi.org/10.52200/42.A.STR8TDH8