Pueyrredón, Prilidiano (1823-1870)
Paisaje con barcos (Landscape with boats)
1862
Watercolor on paper, 17 x 16 cm
Museo Nacional de Bellas Artes, Buenos Aires
This small watercolour depicts an open view of the Río de la Plata, with the dominant ochre hue of the river water at sunset, with clouds announcing the probable storm that allows for the inclusion of blues and violets. The inscription on the back clarifies that it is a natural study made on 2 January 1862. Given the point of view, the sketch must have been taken from a viewing point, probably that of the Santa Calixta estate over the Socorro ravine in Buenos Aires.
Another distinctive note, besides the unique open view, is the steamboat instead of the usual sailing ships. These only appear in the distant background, barely cutting the horizon line with their two masts. The ship, more precisely, is of mixed propulsion, with masts for sails in addition to the paddle. Pueyrredón represents it with its black hull and the strong smoke generates a slight diagonal with its entrance. In the year 1864, for example, the movement in the Port of Buenos Aires was 64 sailing ships and 45 steam ships Pueyrredón also records this navigation in Landscape of the Paraná Delta. The steamboat was an everyday image, present on the postage stamps of Buenos Aires since 1858 as an image of progress and commerce. Alfredo González Garaño, under the title Landscape (Río de la Plata), states that the work came from Fermín Rezábal Bustillo (1845-1873), Pueyrredón‘s assistant. However, the file notes that it came from Luis Escalada, entering in 1911, and not in 1938 as the set of works acquired from Carmen Rezábal by the Ministry of Public Instruction for the museum. However, the number of watercolors in the Rezábal acquisition is 21 watercolors, so the one we are dealing with must be part of that lot. The confusion arises from the fact that they did not appear with an inventory number until they were located in 1941, at which time they were associated with an offer note from Luis Escalada dated December 14, 1911, of which there is no record of acceptance. The aforementioned letter, addressed to Cupertino del Campo, clarifies that it does not have a signature, unlike the one we are dealing with, which has a signature and date on the back. (Roberto Amigo | MNBA)