Opticar Structure
1962
87.0 x 52.0 cm
Muzej moderne umetnosti u Buenos Ajesu
Giclee štampa / Umetnički otisak
Giclée štampa ili print na platnu muzejskog kvaliteta uz brzu proizvodnju i fleksibilne opcije završne obrade.
Izaberite jednu od naših unapred definisanih veličina koje odgovaraju originalnim proporcijama umetničkog dela.
Možete uneti sopstvene dimenzije kako biste umetničko delo prilagodili specifičnom okviru ili prostoru. Ako odabrani format ne odgovara proporcijama originalne slike, mi ćemo ili iscrtati deo dela ili proširiti sliku pomoću ogledane ivice ili jednobojnog popunjavanja. Digitalni prikaz će vam biti poslat na odobrenje pre početka proizvodnje.
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Iako su prilagođene dimenzije dostupne, preporučujemo da odaberete dimenziju sa unapred definisane liste kako biste očuvali originalne proporcije.
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Opticar Structure
Giclee štampa / Umetnički otisak
Dimenzije reprodukcije
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Konačna cena
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Srodna umetnička dela
Biografija umetnika
Martha Boto: A Pioneer of Kinetic and Programmed Art
Early Life and Education
Martha Boto (1925-2004) was a highly influential Argentinian artist renowned for her pioneering work in kinetic and programmed art. Born in Buenos Aires, Argentina, she demonstrated an early aptitude for visual arts. In 1944, Boto formally began her artistic training at the Escuela Superior de Bellas Artes, where she honed her skills in drawing and painting.
Artistic Development and Early Work
Boto’s initial artistic explorations centered around geometric abstraction. During the 1950s, she held several solo exhibitions showcasing these early works. However, a pivotal shift occurred in 1956 when she joined the “Arte Nuevo” group – a collective dedicated to concrete art. This association spurred her experimentation with innovative materials like plexiglass, light, and mirrors.
- Early work focused on geometric abstraction.
- Joined "Arte Nuevo" in 1956, embracing concrete art principles.
- Began experimenting with non-traditional materials like plexiglass and light.
Kinetic Art and Collaboration
Boto was among the first artists in Buenos Aires to integrate movement as a fundamental element within her sculptural creations. In 1957, alongside her husband and artistic collaborator, Gregorio Vardanega, she co-founded “Artistas no figurativos de la argentina,” further solidifying her commitment to non-figurative art.
Move to Paris and International Recognition
In 1959, Boto relocated to Paris with Vardanega, a move that proved crucial for her international recognition. The influential gallerist Denise René championed Boto’s work, providing her with opportunities to exhibit alongside leading figures in the kinetic art movement. She also participated in the inaugural Biennale de Paris.
- Relocated to Paris in 1959 with Gregorio Vardanega.
- Gained support from gallerist Denise René.
- Exhibited at the first Biennale de Paris.
Later Work and Artistic Innovations
During her time in Paris, Boto increasingly incorporated industrial materials – notably electric motors – into her sculptures. This integration of technology allowed for dynamic, moving artworks that challenged traditional notions of sculpture. Her work explored the interplay between light, space, and motion, creating immersive visual experiences.
Legacy and Historical Significance
Martha Boto’s contributions to kinetic and programmed art are widely celebrated. She is recognized as a key figure in Latin American modernism and a pioneer who expanded the boundaries of sculptural practice. Her innovative use of materials, incorporation of movement, and exploration of perceptual phenomena continue to inspire artists today. Her work remains a testament to the power of experimentation and the enduring appeal of abstract art.
Martha Boto
1925 - 2004 , Argentina
Osnovne informacije
- Birth Date: 1925
- Birth Place: Buenos Aires, Argentina
- Death Date: 2004
- Movement:
- Kinetic art
- Programmed art
- Concrete art
- Name: Martha Boto
- Nationality: Argentinian
- Notable Works:
- Opticar Structure
- Untitled

Opcija sa staklom dostupna je samo za dimenzije manje od 110 cm