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PA B LO ATC H U G A R R Y : L I V E S I N S TO N E

958 MADISON AVENUE NEW YORK, NEW YORK 10021 TEL 212 628 4000 FAX 212 570 5786 WWW.HOLLISTAGGART.COM

PA B LO ATC H U G A R RY L I V E S I N S TO N E


PA B LO ATC H U G A R R Y : L I V E S I N S TO N E

958 MADISON AVENUE NEW YORK, NEW YORK 10021 TEL 212 628 4000 FAX 212 570 5786 WWW.HOLLISTAGGART.COM

PA B LO ATC H U G A R RY L I V E S I N S TO N E


PA B LO ATC H U G A R RY


Pablo Atchugarry in his studio, Lecco, Italy


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Installation of exhibition Pablo Atchugarry: Heroic Activities at Hollis Taggart Galleries, New York, 2011

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Installation view of So単ando New York (Dreaming New York) (2011), Times Square, New York, 2012 7


PABLO ATCHUGARRY


L I V ES I N STON E

7 november 2013 – 4 january 2014

958 madison avenue, new york, new york 10021

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opposite: Il Polvaccio quarry, Carrara, Italy, 2011 this page: Drawing on a block, Manantiales, Uruguay, 2012


This catalogue has been published on the occasion of the exhibition “Pablo Atchugarry: Lives in Stone,” organized by Hollis Taggart Galleries, New York, and presented from 7 November 2013 – 4 January 2014. isbn: 978-0-9889139-1-2 Library of Congress Control Number: 2013917465 Front cover: Installation view of Atchugarry’s studio with, left to right, Vital Silence, 2013 (pl. 15); Life in Stone, 2013 (pl. 5); and Ideal Union, 2013 (pl. 19) Back cover: Installation view with Atchugarry and, left to right, Vital Silence, 2013 (pl. 15); Life in Stone, 2013 (pl. 5); and Ideal Union, 2013 (pl. 19) Publication copyright © 2013 Hollis Taggart Galleries All rights reserved Hollis Taggart Galleries 958 Madison Avenue, New York, NY 10021 Tel 212 628 4000 Fax 212 570 5786 www.hollistaggart.com Reproduction of contents prohibited Catalogue production: Jessie Sentivan Design: Russell Hassell, New York Printing: Spire, Boston Photography: Archive Pablo Atchugarry; Daniele Cortese; Bruno Cortese; Oscar Insua; Lorena Larriestra; Josh Nefsky; Nicolás Vidal


Contents

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Acknowledgments

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Pablo Atchugarry: Lives in Stone

by Eric Bryant

Creative Process, Monumental Works,

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and Installations

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Plates

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Selected Solo Exhibitions, Group Exhibitions,

Public Commissions, and Publications


Working in his studio, Lecco, Italy


Acknowledgments with this much anticipated second exhibition of sculpture by Pablo Atchugarry, the Maestro from Montevideo continues to captivate and transcend both time and geography. Whether intimately-sized or monumentally-scaled, Atchugarry’s elegant sculptures embody the artist’s meticulous craftsmanship and highlight his deep respect for the sanctity of his chosen materials. These extraordinary works, now situated in such far reaching venues as Monte Carlo, Miami, and Maldonado, today stand as bold reminders of how Atchugarry has literally stretched the possible limits of sculptural expression in the 21st century.  Atchugarry’s dedication to the medium is not simply onedimensional. Beyond his own sculptural work, Atchugarry is also passionately invested in educating and supporting children in Uruguay by exposing  thousands of youths to art, music, and literature. In fact, on the eve of the opening of this very show, we proudly share that Atchugarry is being honored for his commitment to education by Reaching U, an organization working to assist children needing help in Uruguay. We are most grateful for the opportunity to continue to share the sculptor’s latest works. Our thanks go to Atchugarry and his wife Silvana Neme, as well as his son Piero. Eric Bryant’s compelling essay contains original insights into Atchugarry’s work which we think will engage our readers. Thanks are extended to Russell Hassell who designed this handsome book and to Jessie Sentivan who was indispensable in its execution. John Dreyer and the entire team at Spire, as always, were professional in the printing of the catalogue. A show like this one requires the full participation of the staff at Hollis Taggart Galleries and we thank Debra Pesci, Stacey Epstein, Daniel Weiner, Gillian Pistell, and Samara Umschweis. Atchugarry’s works are continually the topic of conversation whenever we place them in the gallery, or at our booth at an fair. The tactile, sensual quality of the stone and the beautifully-colored patinas of the bronze works immediately engage the viewers’ eye and bring forth the desire to touch them—people of all ages acquiesce to that welcoming invitation. We hope that you accept our invitiation to peruse this catalogue and have an opportunity to see Atchugarry’s creations in person. Hollis Taggart Martin Friedrichs

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Pablo Atchugarry: Lives in Stone

pablo atchugarry’s artistic methods are rife with contradictions and incongruities. There is the classic paradox of the master sculptor, who is able to wrest something light and lively from weighty marble. Moreover, working in the traditional materials of stone and bronze, he produces sculptures that feel both timeless and unquestionably contemporary. Resolutely abstract, his work nonetheless articulates an empathetic humanism. And on a personal note, while his monumental pieces manifest undeniable grandeur, the gregarious Uruguayan himself, despite his imposing stature, conveys nothing so much as easygoing humility. The essentially optimistic humanism at the heart of Atchugarry’s art is of course an idea out of favor, a concept whose subtle appeals are overwhelmed today by the more rampant enticements of technology and zealotry, and the more common artistic stances of irony and cynicism. Atchugarry exemplifies devotion to craft, another regrettably passé idea. A number of assistants may be at work at any given time around his studio sharpening tools, polishing finished works, or repositioning multi-ton stones for the sculptor’s attention. However, even at this point in his career, only Atchugarry wields the physically punishing air hammers used to find the rough outlines of each work within the block, and even on works more than 30 feet in height, only he holds the chisels used to breathe life into the finer details. On warm days he may be found outside in the studio’s courtyard or in the chilly months in the cool but highly functional main space; in either case, a visitor should expect to find Atchugarry covered in a fine marble dust. Connoisseurship is one of the collateral casualties of the current vogue for an aesthetic rooted in the ephemeral, the cast-off, and the thrown-together. The appreciation of the complex skills underlying traditional crafts such as stone carving require regular exposure to the work of great practitioners. In that sense, Atchugarry’s pursuit provides a service beyond the advancement of his own art. His painstakingly skilled approach and subtly allusive forms might have put his work at a disadvantage in a cacophonous art scene always touting the new, or at least limit its appeal to those

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Sculpting Nelle Luce, Lecco, Italy, 2005


Atchugarry working on PietĂ , Lecco, Italy, 1981 17


willing to invest the time and energy needed to grasp it, but this is not the case. Atchugarry has achieved a number of the markers of the international art star. He represented his native Uruguay at the Venice Biennale in 2003; monumental commissions adorn public spaces from Brussels to Monaco to Punta del Este; a catalogue raisonné, years in the making, debuted this summer in Brussels; and in addition to his large studio in the Northern Italian town of Lecco, where he spends at least six months of each year, Atchugarry maintains a sculpture park in Manantiales, Uruguay, overseen by the artist’s foundation. given the perspective of his current success, it is easy to see the benefits that accrued to Atchugarry by being born in 1954 in Montevideo. His father was not merely supportive, but having trained under the great Uruguayan Constructivist Joaquin Torres-Garcia before setting aside his artistic ambitions to support his family, Pedro Atchugarry was capable of guiding his son’s talent. At the same time, the younger Atchugarry was able to explore his own interests free of the didacticism and oneupmanship that pervade art centers. By 18 years old he had his first show of paintings in Montevideo and had undertaken his first experiment with sculpture—a horse cast in concrete. In the following years, as he took up and dropped architecture studies, the young artist found venues in Brazil and Argentina to exhibit his paintings, which frequently mixed abstraction with a schematic approach to the figure that borrowed from Constructivism. Of course, to a young man in the 1970s, the advantages of this sheltered nurturing of his talent may have been less obvious. He set off in 1977 to explore the place his family saw as the source of their culture: Europe. This tale of the artist’s coming of age leads to another puzzle of Atchugarry’s artworks: Refined in execution and steeped in art history, they are nonetheless the work of a self-taught artist. Of course, Atchugarry is unschooled only by the narrow standards of today’s MFA-saturated contemporary art scene. In addition to training from his father and the contacts he provided within the small artistic community in Uruguay, the young traveller benefitted from contact with a network of artists, gallerists, and collectors that grew as he roamed the continent visiting museums and art hubs from Scandinavia to the Mediterranean.

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Drawing on a block, Manantiales, Uruguay, 2012


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Untitled, 2013, Black Belgium marble (alternate view; pl. 9) 20


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In Copenhagen he had his first European display at a fair as early as 1977, and it was a success. In Milan he reconnected with a woman he had met in Paris, and she brought him to the city of Lecco on the southeastern tip of Lake Como. There he had his first Italian show the following year, which in turn led to the first commission from a patron for a work in marble. Another new friend suggested he go to Carrara in Tuscany if he really wanted to learn about the material. And so, by chance or by fate, were the foundations of the career we know today laid down. in addition to the prized white carrara marble that he has been sourcing from the same quarry for nearly three decades, Atchugarry works in gray stone from Bardiglio, black from Belgium, and pink from Portugal, as well as bronze finished in various patinas, ceramic, and, more rarely, even woods. Uniting these works is a tightly defined, yet infinitely recombinative set of forms. The works in this show demonstrate the breadth of expression that Atchugarry has learned to coax from that restricted formal vocabulary. Manipulating sinuous curves, accordion folds, ovoid apertures, and a typically vertical alignment, he creates forms that can be evocative of plants and trees, breaking waves, still lifes, and pure movement. But in nearly every work, seen from some angle, the human figure in motion comes to mind. Sculptors have been drawn to Carrarra for centuries for the unusual translucency of the best stone there. It is the search for that quality that draws Atchugarry down to the Tuscan quarry several times a year to select individual blocks appropriate for each work. Because imperfections can be hard to spot, yet can undo months of labor, this personal selection process is especially key in the case of the monumental outdoor commissions that have found permanent homes across Europe, the United States, and Latin America. But the search for just the right play of light is no less significant to the success of the pieces intended for indoor installation. Indeed his particular set of formal tools— the pleats, the planes that converge at an acute angle, the layering of one shape behind another—are all keenly attuned to make the most of this precious attribute. Contemplating a work such as Constellation of Love (2011–13; pl. 1), its looming stature in relation to the viewer is made more approachable by the material’s delicacy. In contrast, the smaller untitled piece from 2005 (pl. 4) has been given a subtly more

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Arco, 2003, Cararra marble (alternate view; pl. 2)


Untitled, 2013, Bronze (detail; pl.13)


Ideal Union, 2013, White Carrara marble (detail; pl. 19) left to right: Energia Vital (Vital Energy) (2004), Davidoff Cancer Center, Petah Tikva, Israel; Dama bianca (White Lady) (2010), private collection, Italy 25


glassy finish, and the whole stone seems to glow from within. Even when working with the colored marble from Portugal, as in the untitled tabletop work from 2013 (pl. 8), Atchugarry’s paring down to impossibly thin planes allows the light to build through layers from a pale peaches-and-cream to a rich apricot. Precisely because they are abstract, Atchugarry’s sculptures are, once they put the formal concerns of a gallery or museum setting behind them, objects for meditative contemplation, whether the viewer is of a spiritual inclination or not. That is to say that they act by drawing each viewer into his or her own thoughts. Even at its diminutive size, the last work mentioned captivates with its range of evocations. Given time and focus, what might at its most literal recall an open book, can become an abstraction of hands joined in prayer, or then, more symbolically, the years of a lifetime fluttering apart. The glossy white piece from 2005 seems perhaps a perfect Cubist rendering of a child reaching heavenward as her gauzy white gown dances in a summer breeze, all its shape-shifting frozen moment by moment in a single gestalt, thereby becoming a reminder of the need to observe and appreciate the small moments of beauty that surround us. In the case of Constellation of Love, what at first brings to mind two figures embracing realigns to a representation of family. Of course, in this instance, a power of suggestion from the title may be at work. For this reason, Atchugarry feels that titles tend to restrict rather than enhance such interpretation and he avoids them except in cases such as this where their poetry offers a focus for meditation rather than a literal description. The ensemble of eight marble sculptures shown in 2003 in Venice carried the title Dreaming of Peace, in response to the recently launched war in Iraq. Three grey forms on the perimeter seem to simultaneously push up and be pulled down; in the center five towers in luminous Carrara soar toward heaven. in recent years, Atchugarry has expanded his practice by producing works in bronze at a foundry in Verona. This exhibition presents five such works (pls. 6, 12–13, 16–17), the largest gathering seen in North America. With their parallel planes and sensuous undulations, the compositions are immediately recognizable as coming from the hand of Atchugarry. Yet the material imparts a density that allows them to act as an ideal foil for the paradoxically buoyant stone. To mitigate the medium’s opacity,

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So単ando la paz (Dreaming of Peace), Venice Biennale, Uruguayan Pavilion, 2003 27


the artist applies richly variegated patinas in black, steely blue, and verdigris. These new hues open a new range of emotional strength in the works. This group of bronzes, particularly the nearly eight-foot-tall Cariatide (2006) highlights another aspect of Atchugarry’s approach that is shared by too few sculptors today: His works are to be seen in the round. For Atchugarry, this means no angle of any work can be given short shrift, no panel left unadorned or out of balance. For the viewer, this means there is no ideal view and each step affords a new relation among the parts of the whole to contemplate. As I wrote before, most often these views bring to mind the human body, and more precisely the human form engaged in some dance of the sublime. Each piece seems to speak of some individual life, an expression of the masculine or the feminine, as well as a unique balance of strength and fragility, of outward reaching and inward turning gestures, of speed and stillness. In this sense, each work might be seen as a portrait. How he captures these living beings within abstract forms is perhaps the central paradox of Atchugarry’s body of work. It is in stone where these lives first took flight, but his evocation is all the more impressive for his ability to call it forth in varied materials. the demands of taking on new commitments—whether exploring the possibilities of a new medium or sharing his gifts with new generations through his foundation—come at a price, of course. But the opportunities afforded by this continued innovation and growth outweigh the costs, for Atchugarry himself, but perhaps even more so for those of us who appreciate the results.

New York-based critic and journalist eric bryant has written about contemporary art and artists for more than 20 years. For the last decade he has shaped the national discourse on art as an editor at such publications as ARTnews and Art+Auction.

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Cariatide, 2006. Bronze, 91 x 25H x 23G inches.


Working in his studio in Lecco, Italy, 2010

left to right: Touching up a bronze sculpture at the foundry, Verona, Italy, 2006; Working in Punta del Este, Uruguay, 2007 29


Creative Process, Monumental Works, and Installations


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Working on Vida en movimiento, Lecco, Italy, 2013


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Working on Vida en movimiento, Lecco, Italy, 2013


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above and opposite: In the Way of Light (2007), Lecco, Italy


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above: Untitled (2010), Corten steel, La Barra, Uruguay opposite: Las Velas del Sur (2008), Corten steel, Montevideo, Uruguay


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above and opposite: Abrazo Cósmico (Cosmic Embrace) (2006–11), Lecco, Italy, 2013


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above: South Light (2008), JosĂŠ Ignacio, Uruguay opposite: Untitled (2011), Manantiales, Uruguay


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above , opposite and following pages: Nido de los sue単os, 2013, iron, Tierra Garzon, Uruguay


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Studio at Atchugarry Foundation, Manantiales, Uruguay


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above and opposite: Working on several projects, Manantiales, Uruguay, 2012


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Untitled, Montevideo, Uruguay


Installation view of Semilla de la Esperanza (Seed of Hope) (1996), Sculpture Park, Montevideo, Uruguay 53


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above, opposite and following pages: Light and Energy of Punta del Este, Punta del Este, Uruguay


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Assembly and installation of Espirítu Olímpico I and Espirítu Olímpico II (2012)


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Installation views of Espirítu Olímpico I (above) and Espirítu Olímpico II (opposite) (2012), stainless steel, St. James’s Square Garden, London


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opposite, above and following pages: Installation views of So単ando New York (Dreaming New York) (2011), Times Square, New York, 2012

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opposite, above and following pages: Installation of exhibition Pablo Atchugarry: Heroic Activities at Hollis Taggart Galleries, New York, 2011

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Pablo Atchugarry: Heroic Activities at Hollis Taggart Galleries, New York, 2011


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Plates


1 Constellation of Love, 2011–13 Carrara marble 85 x 26I x 23G inches

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2 Arco, 2003 Carrara marble 32H x 39 x 14¹⁵⁄₁₆ inches

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3 Untitled, 2012 Pink Portugal marble 35¹⁄₁₆ x 15I x 9G inches

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4 Untitled, 2005 Carrara marble 27⁹⁄₁₆ x 12³⁄₁₆ x 9¹³⁄₁₆ inches

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5 Life in Stone, 2013 Carrara marble 65K x 11¹³⁄₁₆ x 7M inches

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Untitled, 2013 Bronze 35⁷⁄₁₆ x 12³⁄₁₆ x 10L inches Edition 5/8


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Untitled, 2009 Bronze 20¹⁵⁄₁₆ x 11¹³⁄₁₆ x 7³⁄₁₆ inches Edition 7/8

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8 Untitled, 2013 Pink Portugal marble 11L x 16J x 5¹⁵⁄₁₆ inches

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9 Untitled, 2013 Black Belgium marble 11L x 27K x 6H inches

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10 Emotions of the Skin, 2007 Pink Portugal marble 25I x 10 x 9⁷⁄₁₆ inches

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11 Travel Through the Light, 2011 Carrara marble 51G x 9M x 4⁵⁄₁₆ inches


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Untitled, 2012 Bronze 59¹³⁄₁₆ x 18H x 14⁹⁄₁₆ inches Edition 1/3


17 a través2013 de la luz (Travel through the Light), 2011 13 Viaje Untitled, marble Carrara Bronze x 9Mxx15I 4⁵⁄₁₆ inches 51G 38⁹⁄₁₆ x 10L inches

Edition 2/8

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14 Untitled, 2013 Carrara marble 24³⁄₁₆ x 14³⁄₁₆ x 13I inches

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15 Vital Silence, 2013 Carrara marble 54⁵⁄₁₆ x 13 x 9¹⁄₁₆ inches

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Untitled, 2013 Bronze 52K x 11¹³⁄₁₆ x 5¹⁵⁄₁₆ inches Edition 2/8


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Untitled, 2013 Bronze 58G x 16⁹⁄₁₆ x 12L inches Edition 5/8


18 Untitled, 2006 Carrara marble 21 x 7 x 4 inches

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19 Ideal Union, 2013 Cararra marble 68¹⁵⁄₁₆ x 22⁷⁄₁₆ x 8H inches

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Pablo Atchugarry

Born: 23 August 1954, Montevideo, Uruguay Resides: Lecco, Italy

selec ted solo exhibitions 2013 Fundación Pablo Atchugarry, Manantiales Museo MIIT, Torino 2012 Albemarle Gallery, London 2011 Hollis Taggart Galleries, New York 2010 Albemarle Gallery, London Bienvenu Gallery, New Orleans 2008 Albemarle Gallery, London Museo Nacional de Artes Visuales, Montevideo Gary Nader Fine Art, Miami 2007 Museu Oscar Niemeyer, Curitiba Museu Brasileiro de Escultura, São Paulo Centro Cultural Banco do Brasil, Brasilia Lagorio Arte Contemporanea, Brescia Frey Norris Gallery, San Francisco 2006 Albemarle Gallery, London Groeninge Museum, Bruges Galeria Sur, Punta del Este, La Barra Gary Nader Fine Art, Miami 2005 Museo Nacional de Bellas Artes, Buenos Aires Park Ryu Sook Gallery, Seoul Gary Nader Fine Art, Miami 2004 Galería Tejería Loppacher, Punta del Este Galleria Rino Costa, Valenza Villa Monastero, Varenna Albemarle Gallery, London 2003 Fondation Veranneman, Kruishoutem 50th Venice Biennale, Uruguay Pavilion, Venice Fondazione Abbazia, Rosazzo Galleria Les Chances de l’Art, Bolzano 2002 Ellequadro Documenti, Genoa 2001 Albemarle Gallery, London Palazzo Isimbardi, Milan Fondazione Il Fiore, Florence 2000 Galerie Le Point, Montecarlo 1999 Inter-American Development Bank, Washington 1998 Ellequadro Documenti, Genoa Foundation Veranneman, Kruishoutem 1997 Fatebenefratelli Center, Valmadrera 1996 Valente Arte Contemporánea, Finale Ligure 1994 Galleria Nuova Carini, Milan 1992 Galerie L’Oeil, Brussels 1991 Galleria Carini, Milan 1989 Biblioteca Civica, Lecco 1988 Galleria Carini, Milan Museo Salvino, Cocquio-Trevisago 1983 Villa Manzoni, Lecco 1982 Galería Felix, Caracas Galleria Visconti, Lecco Galleria Comunale, Monza 1981 Ibis Gallery, Malmo Galerie l’Art et la Paix, Paris Galería la Gruta, Bogotá 1979 Maison de l’Amérique Latine, Paris 1978 Galleria Visconti, Lecco Galleria La Colonna, Como 1974 Galería Lirolay, Buenos Aires 1972 Subte Municipal (City Hall), Montevideo

2011 2010

selec ted group exhibitions Arte Fiera Art First, Bologna TEFAF, Maastricht ArteBA, Buenos Aires Fiac, Paris TEFAF, Maastricht Arte Fiera Art First, Bologna

2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1992 1991 1990 1989 1988 1987 1984 1983 1980

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Fiac, Paris ArteBA, Buenos Aires Arte Fiera Art First, Bologna Arco, Madrid Arte Fiera Art First, Bologna Arco, Madrid Galería Sur, Punta del Este, Montevideo Hollis Taggart Galleries, New York Arte Fiera Art First, Bologna Art London, London Gallery Bienvenu, New Orleans Arte Fiera Art First, Bologna Art Basel, Miami Art London, London Miart, Milan Arco, Madrid Arte Fiera Art First, Bologna Arco, Madrid Arte Fiera Art First, Bologna Galerie Le Point, Monte Carlo TEFAF, Maastricht Arco, Madrid Arte Fiera Art First, Bologna Arte Fiera Art First, Bologna Arco, Madrid TEFAF, Maastricht Arte Fiera Art First, Bologna Arco, Madrid TEFAF, Maastricht Mostra Xenobio, Bologna Arte Fiera Art First, Bologna Orion Art Gallery, Brussels TEFAF, Maastricht Art Basel, Basel Arco, Madrid Scultura 98, Sondrio Biennale Aldo Roncaglia, San Felice sul Panaro Castle of Bourglinster, Luxembourg Arte Fiera Art First, Bologna Gildo Pastor Center, Montecarlo Arte Fiera Art First, Bologna Palazzo Ducale, Genoa Galleria Ellequadro Documenti, Genoa Venice Design Art Gallery, Venice 4th Biennial of Contemporary Sculpture, Passy Crepadona Palace, Belluno 9th Salon of Contemporary Art, Bourg-en-Bresse Contemporary Art International, Milan Sculpture Symposium for the Creation of an Open Air Museum at Nelson Castle, Bronte Lineart, Ghent IX International Valparaiso Art Biennial, Valparaiso Ternate Sculpture, Ternate International Sculpture Exhibition, Castellanza S. Francesco Exhibition of Sacred Art, Como International Exhibition, “Como Illustration,” Como 7th Exhibition of Sacred Art, Basilica of San Simpliciano, Milan XIX International Sculpture Exhibition, Legnano 1st International Small Sculpture Exhibition, Castellanza 3rd Exhibition of Sacred Art, Basilica of San Simpliciano, Milan Taormina Prize (First Prize), Taormina VII Original Drawing Biennial, Rijeca

1979 International Painting and Graphics Exhibition, “Alessandro Volta,” Como 1977 XL National Salon (Acquisition Prize), Montevideo International Exhibition of Applied Arts, Bella Center, Copenhagen 1976 Galeria Aramayo, Montevideo Minisculpture Salon, Montevideo 1975 XVI International Salon Paris-Sud, Juvisy 1974 XXII Municipal Salon, Montevideo XV International Salon Paris-Sud, Juvisy 1973 XX VI National Plastic Arts Salon, Montevideo 1972 XX Municipal Plastic Arts Salon, Montevideo 1965 IGE Plastic Arts Youth Exhibition, Montevideo selec ted public commissions 2009 Luz y energía de Punta del Este (Light and Energy of Punta del Este), Punta del Este 2007 Nella Luce (In the Way of Light), Loris Fontana park, Veduggio con Colzano 2004 Energía Vital (Vital Energy), Davidoff Cancer Hospital, Petah Tikva 2003 Soñando la paz (Dreaming Peace), Venice Biennale Ascención, Franc Daurel Foundation, Barcelona 2002 Ideali (Ideal), commissioned on the occasion of the 50th anniversary of the coronation of Prince Rainier, Monte Carlo 2001 Obelisco del terzo millennio (Obelisk of the Third Millenium), Manzano Monumento alla civiltà e cultura de lavoro lecchese (Monument to the Civilization and Culture of Work in Lecco), Lecco 1998 Cariatide (Caryatid), Therme Palace Hotel, Ostend 1997 Vertunno, private collection, Manzano 1996 Semilla de la esperanza (Seed of Hope), commissioned by the President of the Republic of Uruguay, Julio Maria Sanguinetti, Government Palace sculpture garden, Montevideo s e l e c t e d p u b l i c at i o n s 2013 Battegazzore, Miguel Ángel. Pablo Atchugarry: Viaje a través de la material. Manantiales: Fundación Pablo Atchugarry, 2013. 2012 Lee, David. Pablo Atchugarry: Espíritu Olímpco. London: Albemarle Gallery, 2012. 2011 Goodman, Jonathan. Pablo Atchugarry: Heroic Activities. New York: Hollis Taggart Galleries, 2011. 2010 Lucie-Smith, Edward. Pablo Atchugarry: The Spirit of Marble. London: Albemarle, 2010. 2008 Barbero, Luca Massimo. Pablo Atchugarry: ‘Le emozioni del marmo.’ London: Albemarle, 2008. 2007 Lacasa, Jacqueline, and Luca Massimo Barbero. Pablo Atchugarry. Brescia: Shin, 2007. Pirovano, Carlo. Pablo Atchugarry: Under the Spotlight. Valmadrera: Editoria Grafica Colombo, 2007. 2006 Borchert, Till. Pablo Atchugarry: A Journey between Matter and Light. Oostkamp: Stichting Kunstboek, 2006. Castillo, Martin. Entrevista a Pablo Atchugarry— Un sueño de Infancia. La Barra/Punte del Este: Galeria Sur, 2006. Desmidt, Lieve. Pablo Atchugarry. Groeninge Museum Bulletin (Bruges), no. 2, 2006.


2005 Belucci, Alberto, and Nelly Perazzo. Pablo Atchugarry. Buenos Aires: Museo Nacional de Bellas Artes, 2005. Damian, Carol. The Marble of Deception. Coral Gables: Gary Nader Gallery, 2005. 2004 Pablo Atchugarry: The Spirit of Marble. London: Albemarle Gallery, 2004. Sogni e segni su carta. Varenna: Villa Monastero, 2004. Torres, Alfredo. La persecution de la diferencia. Punta del Este: Galeria Tejeria Loppacher, 2004. 2003 Caramel, Luciano. Scultura come ‘arte di simboli, per la comunità.’ Venice Biennale, 2003. Caramel, Luciano. Soñando la paz. Bolzano: Les Chances de l’Art Gallery, 2003. Corgnati, Martina. Atchugarry. Maastricht: Foundation Veranneman, 2003. Frasson, Paolo. Antiche pietre nuove peitre. Rosazzo: Abbazia di Rosazzo, 2003. Campione, Germano. “Il sogno di pace scalpito da Pablo.” La Gazzetta di Lecco, 9 June 2003. Ansa. “Venecia, capital arte mundial.” Diario El Pais (Montevideo), 14 June 2003. Bouys, Gabriel. “La biennale d’art de Venise fête ses 50 ans et s’étend à la ville.” Le Figaro, 15 June 2003. Lorenzelli, Tiziana. “Atchugarry alla Biennale di Venezia.” Giornale di Lecco, 30 June 2003. Sugliano, Claudia. “Fatica e passione.” Arte In (June–July 2003). Jessy, Sergia. “‘Sognando da Pace.’ La Ricerca de contatto fisico nei marmi di Atchugarry.” Corriere del Veneto, 19 July 2003. Carabajal, Miguel. “El otro Atchugarry.” Diario El Pais (Montevideo), 20 July 2003. Morali, Cesare. “La ‘pace’ di Atchugarry alla Biennale di Venezia.” Il Nuovo Giornale di Bergamo, 13 August 2003. Caprile, Luciano. “Uruguay–Sogni di Pace.” Arte In (September 2003). Massara, Gian Giorgio. “A Venezia: sogni e conflitti.” La Luna (September 2003). 2002 Puig, Arnau. El mundo escultórica de Pablo Atchugarry. Barcelona, 2002. Miralles, Francesc. “Formas muy esenciales.” La Vanguardia (Barcelona), 12 April 2002. Pirovano, Carlo. “Atchugarry.” Monumento alla civiltà e cultura del lavora lecchese. Lecco, 2002. Colombo, Don Marino. “Atchugarry–L’arte a Lecco: due nuovi monumenti.” Il Punto Stampo (Lecco), 2002. Ferrario, Paolo. “Una scultura onora il lavoro: progresso e fatica su marmo.” Il Resegone (Lecco), 17 May 2002. Ronfani, Ugo. “Atchugarry–Una scultura esalta la civiltà de lavoro.” Il Giorno (Milan), 18 May 2002. Maggi, Isabella. “In memoria dei caduti.” Giornale di Lecco, 20 May 2002. Sandionigi, Paola. “Monumento, un tributo d’amore.” La Provincia (Lecco), 20 May 2002. Riva, Gianni. “Un monumento a chi muore sul lavoro.” Il Giorno (Milan), 21 May 2002. Morali, Cesare. “Civiltà e cultura de lavoro.” Il Nuovo Giornale di Bergamo, 22 May 2002. Camps, Eudald. “Seduccio per la forma.” Diari de Girona–Accents, 21 June 2002. Perera, Marga. “Pablo Atchugarry: La espiritualidad del mármol.” Siglo XXI Subastas (Madrid) (June 2002).

Casal, Alvaro, and Natalie Scheck. “Los mármoles de Pablo Atchugarry.” Diario El Pais (Montevideo), 2 July 2002. Novarese, C., and L. Roux. “Uruguayas que aprobaron con sote.” Diario El Pais (Montevideo), 27 December 2002. 2001 Colombo, Nicoletta. Le infinite evoluzioni del marmo. Milan: Palazzo Isimbardi, 2001. Frasson, Paolo. Titanismo nella scultura de Pablo Atchugarry. Manzano: Obelisco de Terzo Millennio, 2001. Ronfani, Ugo. Dinamiche del marmo. Loano: Merchionne Gallery, 2001. Pablo Atchugarry. London: Albemarle Gallery, 2001. Sanguinetti, Julio Marìa. Una obra con vocaciòn clàsica. Milan: Palazzo Isimbardi, 2001. Sgorlon, Carlo. Il monumento della sedia ‘Obelisco de Terza Millenio’. Manzano: Obelisco de Terzo Millennio, 2001. Amoretti, Alvaro. “El hombre de mármol.” Diario El Pais (Montevideo). 16 October 2001. Meyer Long, Jorge, “Libertad y espíritu.” Diario El Pais (Montevideo). 16 October 2001. 2000 Pirovano, Carlo. Atchugarry. Monte Carlo: Galerie Le Point, 2000. Toftgaard, Anders. Inside Out. Bologna: Xenobio, 2000. Rizzi, Paolo. “Dolce marmi, languide carezze.” Arte In (August 2000). 1999 Caprile, Luciano, and Tiziana Leopizzi. Alla ricerca del sublime. Lecco: Museo Pablo Atchugarry, 1999. Leopizzi, Tiziana. Pablo Atchugarry. Genoa: Museo Pablo Atchugarry, 1999. Orsi, Valeria. “Il miracolo . . . della materiale.” Art Leader (February 1999). Franceschetti, Roberta. “Atchugarry. Fonde Arp e il Medioevo, l’uruguayano di Lecco.” Arte (Milan) (February 1999). “Le scelte della critica: il magnifici cinque del 1998.” Il Giornale dell’arte (Turin) (February 1999). Garavaglia, Barbara. “Da Settembre a Lecco il Museo di Atchugarry.” Il Resegone (Lecco), 26 March 1999. Driesbach, Martina. “Leihgabe kam in Trummern.” Taunus Zeitung (Bad Homburg), 11 June 1999. Driesbach, Martina. “Der Mann, der Marmor in Falten Legt.” Taunus Zeitung (Bad Homburg), 17 June 1999. Hoyer, Renate. “Faszination in Marmor.” Frankfurter Rundschau, 22 June 1999. “Kunstwerk voor jarige Veranneman.” Vlaamse Ardennen (Kruishoutem), 21 September 1999. “Sarà aperto domani a Lecco il museo di Pablo Atchugarry.” Il Resegone (Lecco) (September 1999). Pedrinelli, Andrea. “Lecco va ‘alla ricerca del sublime’ nella scultura.” La Gazetta di Lecco (September 1999). “Pablo Atchugarry, professione scultore.” L’artigianato lecchese (September 1999). “Museo tra lago e monti.” La Provincia (Lecco), 28 September 1999. Micault, Donatella. “Atchugarry la leggerezza delle forme.” La Provincia de Sondrio Settimanale (October 1999).

Brambilla, Francesca. “Mille guizzi di luce scagliati verso il cielo.” La Provincia (Lecco), October 1999. Garavaglia, Barbara. “Non c’è bellezza senza verità.” Il Resegone (Lecco) (October 1999). Redaelli, Massimo. “Atchugarry da forma alla luce.” Il Punto Stampa (Lecco) (November 1999). Redaelli, Claudio. “Pablo alla ricerca del sublime.” Il Punto Stampa (Lecco) (November 1999). Ripamonti, Serafino. “Dall’Uruguay alle sponde de Lario.” Giornale di Lecco, 15 November 1999. “La ricerca del sublime di Pablo Atchugarry.” Arteletta 3 (Bologna) (November 1999). 1998 Caprile, Luciano. Pablo Atchugarry. Kruishoutem: Veranneman Foundation, 1998. Carabajal, Miguel. Uruguay–Lo mejor de la nuestro. Montevideo: Tomo I, 1999. Elias, Willem. Pablo Atchugarry of wanneer marmer levend wordt. Kruishoutem: Veranneman Foundation, 1998. Mossinelli, Elisabetta. Catalogue Scultura 98. Sondrio: Notiziario de Comune di Sondrio, 1998. Sartoris, Giusi. Scultura 98, un itinerario artistico nel cuore della città. Sondrio: Notiziario de Comune di Sondrio, 1998. Segato, Georgio. La scultura e il corpo: il corpo della scultura. San Felice sul Panaro: Biennale di Aldo Roncaglia, 1998. Trevisan, Maria Luisa. Gli elementi–acqua aria terra fuoco . . . tra arte e ambiente. Padua: Grafiche Turato, 1998. D’Acquisto, Germano. “Un 98 con più arte.” La Provincia (Lecco), 2 June 1998. De Jong, Hanneke. “Michelangelo in abstracto.” Vernissage 2/3 (Amsterdam) (June 1998). Vollmacher, André. “Badplaants krijgt nieuw kunstwerk.” De Thuiskrant (Oostende) (June 1998). “La città sta per diventare una mostra sotto le stelle.” La Provincia (Sondrio), 2 September 1998. “Sondrio. Sculture fra palazzi e cortili.” La Provincia (Sondrio), 12 September 1998. Mola, Carlo. “In citta un’invasione di splendide sculture.” La Provincia (Sondrio), 13 September 1998. Muffatti, Francesca. “Quindici scultori per Sondrio vecchia.” Giornale di Sondrio, September 1998. Cotelli, Marina. “Sculture e suggestioni in centro storico.” La Provincia (Sondrio), 19 September 1998. Grillo, Mariarosa. “Cortili, strade e piazze per l’arte.” Giornale di Sondrio, 20 September 1998. “L’Avis regala il germoglio di vita agli amici della sezione di Civate.” Il Resegone (Lecco), 25 September 1998. Cotelli, Marina. “‘Scultura 98’ senza parole.” La Provincia (Sondrio), 17 October 1998. “A San Giovanni Pablo coltiva l’arte de marmo.” La Gazzetta di Lecco, November 1998. 1997 Demaria, Fernando. Pablo Atchugarry: all’Ascolto del marmo. Quarto d’Altino: Associazione Culturale San Marco, 1997. Gambino, Francesca. “Il marmo ‘parlante’ di Atchugarry.” Il Gazzettino (Quarto d’Altino), 11 February 1997. Z., A. “Uruguay fa tappa a quarto d’Altino.” Gente Veneta, 15 February 1997.

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Frasson, Paolo. Nel Giardina de Pomona, Pablo Atchugarry e la voce del marmo. Venice, 1997. “Een man van marmer.” De Streekkrant (Oostduinkerke), 27 February 1997. “Pablo Atchugarry.” De Streekkrant (Oostduinkerke), 6 March 1997. “Pablo Atchugarry.” De Streekkrant (Oostduinkerke), 10 April 1997. Bellati, Anna Caterina. “La leggerrezza de dolore.” Elleci Magazine (May 1997). “Pablo Atchugarry e i ‘suoi’ marmi.” Il Diario di Lecco-Brianza (Valmadrera), 7 May 1997. Bonfanti, Aloisio. “Pablo, una storia di marmo.” La Provincia (Lecco), 9 May 1997. “Al ‘Fatebenefratelli’ in mostra le sculture di Pablo Atchugarry.” Il Giornale di Lecco, 12 May 1997. “A Valmadrera le sculture di Atchugarry.” La Gazzetta di Lecco, 16 May 1997. Magni, Marco. “Pablo Atchugarry, una mostra d’artista.” Il Resegone (Lecco), 16 May 1997. Ikegami, Hidehiro. “Pablo Atchugarry.” Nikkei Art (July 1997). 1996 Vescovo, Marisa. Atchugarry. Finale Ligure: Valente Arte Contemporánea, 1996. “Kunst en antiek in Knokke.” De Standaard (Knokke), 7 August 1996. Sanguinetti, Julio Marìa. Un parque para el arte. Montevideo: Government Scultpure Park, 1996. Kalenberg, Angel. Esculturas al aire libre. Montevideo: Government Sculpture Park, 1996. “Pablo Atchugarry.” Kunstwerk 5 (Gilze) (November 1996). 1995 Piro Mander, Carla. “Un mondo rigorosa di splendidi marmi.” Corriere di Torino, 3 June 1995. Chales, J. L. “Pablo l’homme de marbre.” Semaine des spectacles (Nice), October 1995. Gérard, S. “Atchugarry.” Semaine des spectacles (Nice), 17 October 1995. Fiacre, Camille. “Atchugarry à la Galerie Quadrige: le marbe dans toute sa splendeur.” Arts (Nice), 1995. Hucher, Yves. “La porte des rêves.” Nice Matin, 11 October 1995. 1994 Levi, Paolo. Pablo Atchugarry. Lecco: Museo Pablo Atchugarry, 1994. Falessi, Mario. “I quadri e le sculture della Faber Flaminia.” L’Azione (Fabbriano), 12 February 1994. “De redactie, editorial.” De Gazet van Willebroek (1994). Faggeti, Livia. “Piccola è bella la scultura oggi.” Arte (Milan) (April 1994). “Buitenlandse kunstenaars in art Gallery den Heeck.” Ons klein Brabant vaartland (April 1994). “Internationale kunstenaars in Hingene.” Reklaamblad Willebroek, 8 April 1994.

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“Nederlandse kleur en marmeren Uruguayaanse perfectie in den Heeck.” Ons klein Brabant vaartland, 15 April 1994. “Tijdloze Pablo Atchugarry en evoluerende Thea Selen,” Wegwijs Zuid, 28 April 1994. “De Beelden van Pablo.” Vernissage (Amsterdam) (January 1994). 1993 Miceli, Nicola. “Pablo Atchugarry, il costruttore di cattedrali.” Art Leader (1993). Paloscia, Tommaso. “La dolce violenza di Pablo Atchugarry.” Contemporart (Nonantola) (February 1993). Vitello, Maurizio. “In margine ad ‘Art First’ di Bologna.” Politica meridionalista (March 1993). Danieli, Graziella. “Pablo Atchugarry: dalle Ande al Resegone.” Giornale di Lecco, 1 March 1993. Cavazzini, Gianni. “I marmi misteriosi di Pablo Atchugarry.” La Gazzetta (Parma), 11 May 1993. Ardissone, Gabriella. “Presenze,” “Esigenze,” Informazioni d’arte (June 1993). “Innerlijke warmte.” De Streekkrant (Oostduinkerke), 30 October 1993. “Atchugarry.” Arts antiques e auctions (Oostduinkerke) (November 1993). 1992 De Grada, Raffaele. Il lineare percorso dello scultore Pablo Atchugarry. Verona: Edizioni d’arte Ghelfi, 1992. Bellati, Anna Caterina. “Gridi di pietra. Il Punto Stampa (Lecco) (June 1992). Masetta, Paolo. “Arte e amicizia.” Corriere di Torino, 25 April 1992. C., F. “Due pittori ed uno scultore nei loggiati della Crepadona.” Gazzettino (Belluno), 20 June 1992. Morales, Mario. “La scultura di Atchugarry pitture di Corpora e Scatizzi.” Settegi Dolomiti (Belluno), 26 June 1992. Morales, Mario. “Tre artisti di chiara fama in mostra.” La Gazzetta (Belluno), 2 July 1992. De Grada, Raffaele. “Il marmo come liberazione.” Arte (Milan) (September 1992). Fuoco, Michele. “Cenacolo d’artisti in casa Pavarotti.” La Gazzetta (Modena), 5 September 1992. Veronesi, Ferruccio. “Poesia del bianco.” Il Resto del Carlino, 17 September 1992. Busnelli, Susanna. “Come nasce una scultura.” Disegnare e dipingere (December 1992). “Künstler ist dem Marmor verfallen.” Borkener Zeitung (December 1992). 1991 Colombo, Nicoletta. Il mondo rigoroso e monumentale dello scultore Atchugarry. Milan: Galleria Carini, 1991. “Pablo Atchugarry busca el alma de la piedra.” La Republica (Montevideo), 13 January 1991. Colombo, Nicoletta. Gli ideali mistici di Atchugarry. Milan: Arte, 1991.

Martucci, Teo. “Atchugarry, Galleria Carini.” Artecultura (Milan), 5 May 1991. Bottino, Vittorio. “Nel marmo di Atchugarry suggestioni senza tempo.” Corriere di Torino, 7 June 1991. Mistrangelo, Angelo. “Sculture scavate dal vento.” Stampa Sera (Turin), 19 June 1991. “Il mondo-monumento dello scultore Atchugarry.” La Gazzetta (Turin), 25 June 1991. 1989 Seveso, Giorgio. “Quando la forma è sintesi poetica.” Milano, 5 May 1989. Boscagli, Giulio. “Dieci anni di attività artistica in Italia.” Il Punto Stampa (Lecco) (May 1989). “‘Liberazione e ascensione’ firmato Atchugarry.” Il Resegone (Lecco), 13 October 1989. Carbè, Antonio. “Pablo Atchugarry.” Leadership (Milan) (December 1989) Colombo, Marino. “Pablo Atchugarry inaugura il suo studio d’arte.” Il Resegone (Lecco) (December 1989). 1988 De Grada, Raffaele. Un documento del nostro tempo: la scultura di Pablo Atchugarry. Milan: Galleria Carini, 1988. Martucci, Giuseppe. “La dinamica della material artistica.” Artecultura (Milan) (December 1998). 1987 De Grada, Raffaele. Pablo Atchugarry. Lecco: Cripta del Bramantino à SS. Apostoli e Nazaro, 1987. 1986 Colombo, Marino. “Un dialogo con la material.” Il Punto Stampa (Lecco) (May 1986). 1985 Dugnani, Ferruccio, Mons. “La Pietà” in Basilica. Lecco: Basilica San Nicolò, 1985. “In Basilica la Pieta di Atchugarry ‘Madre e figlio soli nella pietra.’” Il Resegone (Lecco), 13 September 1985. S., A. “Collocata in Basilica la Pietà di Atchugarry.” Il Resegone (Lecco), 20 September 1985. 1983 Colombo, Marino. Come è nata la “Pietà” di Pablo. Lecco: Villa Manzoni Museo Civico, 1983. “La ‘Pietà’ di Pablo Atchugarry.” Il Resegone (Lecco), 8 April 1983. Ferrario, Mario. “‘La Pietà’ di Atchugarry, lirismo statuario.” Il Resegone (Lecco), 22 April 1983. Giujusa, Salvatore. “Madre e figlio soli nella pietra.” Il Punto Stampa (Lecco) (May 1983). Martucci, Giuseppe. “La “Pietà” di Pablo Atchugarry,” Artecultura (Milan) 7 July 1983. 1982 Fumagalli, Carlo. “La plastica pittura di Pablo Atchugarry.” Monza, 20 May 1982. 1981 Colombo, Marino. Pablo Atchugarry e pensieri sull’arte. Lecco, 1981. Marquez, Alberto Christian. Un pintor del ser humano. Montevideo, 1981. 1978 Radice, Mario. “Alla ‘Colonna,’ ottime ‘chine’ del pittore scultore uruguaiano Atchugarry.” La Provincia (Como), 25 November 1978.


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Pablo Atchugarry: Lives in Stone