Argentina - A neighborhood endowed with colors, arts and Poltics

Benito Quinquela Martín stands as one of the most popular and renowned Argentine painters. This is so not only as a result of his colorful and eloquent paintings portraying the port´s working class during the first decades of the XX century´s, but it can also be attributed to an identification with the neighborhood that saw him grow: La Boca.  This suburb of Italian immigrants, currently regarded as the touristic symbol for the City of Buenos Aires, owes a great deal to Quinquela Martín, just as much as the painter owes to this neighborhood.

Quinquela Martín (1890-1977) strongly advocated the link between art, politics and society. As a child, he was adopted and his childhood was marked by poverty. Nevertheless, he managed to forge his own destiny by acting with zeal and commitment in a neighborhood that, as explained by María Sabato, the director of the Museum created by the artist back in 1933, provided him with support bringing about a lifelong impact in his life. This support was given to him by his neighborhood: a neighborhood depicting a social structure, and regarded as poor, though being crammed with innovative ideas. As a matter of fact, Quinquela is said to have been really lucky as his artistic work was endorsed by associations that at that time provided shelter to children having painting and writing skills, as well to those having a craft. And they themselves started to gradually become part of an ever-lasting social structure”.

Quinquela Martín´s growing prestige and popularity were partially boosted by his trips to Europe and the US where museums and celebrities bought his paintings. Nevertheless, as María Sábato stated, the artist´s acknowledgment comes primarily from ordinary people, “the people of Argentina had already acknowledged him as a great leading character. This reality was no longer subject to being questioned. In fact, when something truly becomes part of a certain people, there is nothing to argue about. The National Academy obviously welcomed this viewpoint”.

Therefore, the importance of most of Quinquela´s work does not necessarily lie only in his paintings, but also in the fact of having exerted a great influence on a big part of La Boca neighborhood from the 30´s up until today. Such influence being displayed in pictures and wall paintings that distinctly decorate this neighborhood and primarily make up an intangible heritage: the absolute coherence existing between his art, his socio-political commitment and his life. 

Back in 1933, the artist bought a large plot of land in one of this neighborhood key areas, located at a short distance from Caminito neighborhood just across from the river. It was in this neighborhood that the artist built what the museum director refers to as “the first Cultural Complex in Argentina”, still standing there up to these days. This complex includes a museum, whose third floor used to be the painter´s place of residence until his death, a kindergarten, a primary and secondary school, a nursing home, a theater and a dentistry center. When being there, Quinquela did not get any inspiration to paint. He merely let the daily reality of his neighbors, workers and exploited immigrants be poured into the frame, while adding slight personal touches that clearly reflected the artist´s painting style. That style was characterized by a setting of misery and sadness portrayed through brilliant, strong and vibrant colors. This is the reason why María Sábato asserts that “he did not explain the nature of his work; he exhibited his work, the dignity of work, and that of an immigrant or worker”.

According to tourists, La Boca and the Fine Arts Museum “Benito Quinquela Martín” currently rank first among other museums. Sábato ventures to say that foreigners like Quinquela´s work” because his painting style clearly differs from that of the European one. As he did not base his learning in European schools´ teachings, his style depicts characteristics that are not found anywhere else”.