The Total Artist. Max Bill according to Tomás Maldonado

Authors

  • Alejandro Gabriel Crispiani Pontificia Universidad Católica de Chile image/svg+xml

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DOI:

https://doi.org/10.52200/42.A.STR8TDH8

Keywords:

Modern Movement, Modern architecture, Modern housing

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.

How to Cite

Crispiani, A. G. (2010). The Total Artist. Max Bill according to Tomás Maldonado. Docomomo Journal, (42), 100–109. https://doi.org/10.52200/42.A.STR8TDH8

Published

2010-07-01

Author Biography

Alejandro Gabriel Crispiani, Pontificia Universidad Católica de Chile

Is doctor in Human and Social Sciences, Universidad Nacional de Quilmes, 2009. Associate Professor at the Faculty of Architecture, Design and Urban Studies of the Pontificia Universidad Católica de Chile, he is in charge of the Centro de Información y Documentación of the same Faculty. His field of research is modern art, design and architecture in Latin America.

References

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Crispiani, Alejandro. Un mundo continuo, in ARQ 49, November 2001. (magazine of la Escuela de Arquitectura de la Pontificia Universidad Católica de Chile)

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Huttiger, Eduard. Max Bill. New York: Rizzoli, 1978.

Maldonado, Tomás. Max Bill. Buenos Aires: Nueva Visión, 1955.

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