Roberto Pignataro

In 1970, Roberto Pignataro unveiled a breakthrough series at Galería Lirolay in Buenos Aires, establishing a new visual language in abstract art. This article explores the evolution of his technique and the moment art critic César Magrini encountered the work—leaving him stunned and struggling for words.

In 1965, Roberto Pignataro staged a retrospective exhibition in downtown Buenos Aires—but this was not the typical gallery-based event one would expect from this era. Several unconventional elements set this event apart, making it a compelling subject for closer examination.

In 1974, Roberto Pignataro unveiled his third and final artistic publication, ‘A Través de Estampas Volume II’ (Through Stamps Vol. II). Featuring nine sequential abstractions—or "stamps"—this booklet takes the viewer on a unique journey, led by its animated compositions and the intriguing visual narrative that unfolds with each turn of the page.

This article set out to explore the origins and career impact Roberto Pignataro's 1970 exhibition at the Miami Museum of Modern Art. However, it inadvertently uncovered a different story: the gripping saga of two men from distant corners of the globe, Roberto Pignataro fronm Argentina and Bernard Davis from the US, striving to organize an international art show as they grapple with the fallout from a catastrophic incident.

In 1968, Roberto Pignataro defied convention with 'A Través de Estampas' (Through Stamps), an artistic book introducing the concept of abstract storytelling. This article delves into the origins of this idea, the book production, and the historical backdrop of 1960s Argentina in which it was conceived.

A rambling examination of a series of intriguing art school drawings by Roberto Pignataro and a potential connection with Vorticism and German Expressionist cinema.

In 1972, Roberto Pignataro self-published his second artistic book entitled, “En Slides Color.”, a pocket-sized album containing sixteen 35mm slides of “projectable” abstract collages. Here is the story behind this peculiar art project.

Between 1962 and 1967, Pignataro created several series of miniature abstractions. What led him to adopt and embrace this curious format?

This article revisits a violent episode in Argentine history—the 1955 bombing of Plaza de Mayo—and explores whether echoes of that trauma, however obliquely, might be reflected in a series of abstract works Roberto Pignataro exhibited eight years later.