Antonio Pujía

In May 1937 he emigrated with his mother and older sister Carmela to Argentina, where his father Vittorio (who had traveled when Antonio was only two years old) was expecting them.

Since his early childhood (and because his difficulty with the Spanish language) he began to draw elements of reality that will attract his attention by the novelty meant for.

[6] Pujía began attending the Buenos Aires's numerous studios in 1943, developing an interest in painting and sculpture.

In 1956 Pujia won a competition to be the head of newly created Scenic Sculpture Workshop Department at the Colón Theatre, continuing working as director until 1970.

Pujía was close to a number of the opera house's ballet company dancers, and he created a bust of Norma Fontenla (on display at the theatre's foyer).

[8] Antonio Pujía turns to the privacy of the goldsmith work in small pieces conquered by its lyrics, by the quiet, yet nervous cadence that presided, by the fineness of detail and the sweetness of the effects, the continuation of a lineage familiar to magic, illusion, the brief, poignant, concise poem.

has its sad moment of inspiration in hunger and death that ravage that area of Africa, although it is obvious from the title itself to these scourges re probation anywhere.

Pujia starts in a bold way, the variety of materials, the precious mobility obtained with simple rotary-bases procedures, neatly assembled surfaces – make of his couples that love each other, a mutable and rich world.

[15] In the sculpture "Man - Woman" (1996), the artist Antonio Pujía has incorporated some Cubist winks in the arrangement of splitting.

In the sculpture "Man - Woman" has been played by the union of two figures, a supposedly female and the other male, which is only recognizable as such by the exhibition of his member.

By unifying these two entities into one volumetric construction, the artist wanted to represent a partner concept political present in most of his art exhibitions: gender equality.

[16] Beginning in 1971, Antonio Pujía has created several artistic medals to commemorate private and national events, as well as to reward renowned people.

A medal is, strictly speaking, a small, flat, and round (at times, ovoid) piece of metal that has been sculpted, molded, cast, struck, stamped, or some way marked with an insignia, portrait, or other artistic rendering.

His 1975 exhibit at the San Martín Cultural Center was a particular success, and Pujía added his entire warehouse of works to the initial display.

Teaching comes in 1949, when I won a prize in the Students and Alumni Association of Fine Arts (MEEBA) and its president called me to give classes.