Macedonio de la Torre, 1893

In Pintura Contemporánea Peruana

In La Prensa, September 23, 1953.

His artistic training took place in Germany, Belgium, France and Italy. In Paris, he exhibited at the “Autumn Room” in 1928 and at the “Independents´” in 1929. In Lima, he held an exhibition in 1930 during one of his visits between stays in Europe. He was the first to bring cutting-edge manifestations of “fauve” and “abstract” art given that he practiced abstractionism as a life experience long before this “ism” became a frivolous international decorativist fashion and during the heroic times of Kandinsky y Malevicht, when cathartic searches for abstractism were in their purest primitive stages. Although he works in all genres, his preference is landscape painting that is not a simple coloristic version of the Andes, which shines with violent chromatism, but instead a delicate and grayish version of the coast. No one has captured the delicate tones of far off mist and sands like Macedonio. No artist matches his interpretations of the jungle. No one can even come close to Macedonio on this terrain! Macedonio´s jungles are not specific. Nor are they realistic transpositions of a place. Instead, they are visions of the astounding essence and fever that the jungle embodies. The only work that matches Macedonio´s in this sense are Piransi´s “prisons.” His jungles are also prisons whose bars are replaced by the tangled nightmares of vegetal exuberance. His tranquil and silent coastal sands and his multicolored arboreal scenes of the jungle constitute the polarities that move the restless creative spirit of an eternally young Macedonio.

Lima, November of 1976