Dignora Pastorello Argentine, 1913-2001
Untitled, 1984
Oil on canvas
138 x 118 cm
54 3/8 x 46 1/2 in
54 3/8 x 46 1/2 in
Dignora Pastorello, painter. (Paola Vega, Dear Dignora, Calvaresi Gallery, Buenos Aires, Argentina, March–May 2022.) 'Recording the world. Dignora was a keen observer of the settings, the areas where she lived...
Dignora Pastorello, painter. (Paola Vega, Dear Dignora, Calvaresi Gallery, Buenos Aires, Argentina, March–May 2022.)
"Recording the world. Dignora was a keen observer of the settings, the areas where she lived in Buenos Aires and the places she visited in her journeys through the world. She did not use photographs in her work nor transfer her sketches to the canvas. She would rather take a few notes and draw quick drawings with a pencil in a notebook that she always carried with her to aid her memory later, when she would paint on the canvas."
Torpor and Fantasy by Sofía Dourron
"Yes, she is an observer of reality, but she is not a neutral interpreter; she plunges into the darkest and stickiest depths unreached by light, then to emerge on the other side, with an image that is barely discrepant. Her motives, which at a first glance seem almost bland and stemming from the boredom or the laziness of someone whose bridges have been burned down, instead burst forth with the determination of someone who looks at everyday nature daringly and inquisitively. As if she were seeking to affirm her own existence in painting, Dignora devoted herself to portraying, over and over, almost obsessively, altered versions of the settings around her. She portrayed her own place, other people’s houses, her trips, her walks, views of balconies, birds, cats, people, interiors, alleys, fields, beaches."
"Recording the world. Dignora was a keen observer of the settings, the areas where she lived in Buenos Aires and the places she visited in her journeys through the world. She did not use photographs in her work nor transfer her sketches to the canvas. She would rather take a few notes and draw quick drawings with a pencil in a notebook that she always carried with her to aid her memory later, when she would paint on the canvas."
Torpor and Fantasy by Sofía Dourron
"Yes, she is an observer of reality, but she is not a neutral interpreter; she plunges into the darkest and stickiest depths unreached by light, then to emerge on the other side, with an image that is barely discrepant. Her motives, which at a first glance seem almost bland and stemming from the boredom or the laziness of someone whose bridges have been burned down, instead burst forth with the determination of someone who looks at everyday nature daringly and inquisitively. As if she were seeking to affirm her own existence in painting, Dignora devoted herself to portraying, over and over, almost obsessively, altered versions of the settings around her. She portrayed her own place, other people’s houses, her trips, her walks, views of balconies, birds, cats, people, interiors, alleys, fields, beaches."
Provenance
Estate of Dignora Pastorello, Buenos Aires, Argentina.
Exhibitions
Dignora Pastorello: A Strange Modernity, Cecilia Brunson Projects, London, UK (25 June - 31 July 2026).Literature
Sebastián Vidal, “Cuerpo-territorios en la escena visual argentina actual [Body-territories in the current Argentine visual scene],” in Memorias (Ecuador: La Fundación Municipal Bienal de Cuenca, 2022), 102.
Ernesto B. Rodríguez, Apuntes para una historia de la pintura argentina[Notes for a history of Argentine painting] (1966), 195.
Publications
Lily Sosa de Newton, Diccionario biográfico de mujeres argentinas, aumentado y actualizado [Biographical Dictionary of Argentine Women: Enlarged and Updated] (Buenos Aires: Plus Ultra, 1980).
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