{"id":1004,"date":"2024-09-10T21:19:20","date_gmt":"2024-09-10T21:19:20","guid":{"rendered":"https:\/\/nestor.saiace.com\/?page_id=1004"},"modified":"2025-04-05T16:50:10","modified_gmt":"2025-04-05T16:50:10","slug":"biographical-notice","status":"publish","type":"page","link":"https:\/\/nestor.saiace.com\/index.php\/biographical-notice\/","title":{"rendered":"N\u00e9stor Saiace &#8211; 00241 &#8211; Texts &#8211; Biographical Notice &#8211; English"},"content":{"rendered":"<p><!DOCTYPE html><br \/>\n<html><br \/>\n<head><\/p>\n<style>\n        \/* Estilo para cambiar el color de fondo, m\u00e1rgenes y padding de todo el cuerpo *\/\n        body {\nmargin-top: -110px; \/* Elimina m\u00e1rgenes del body *\/\n            margin-left: 0.5px; \/* Elimina m\u00e1rgenes del body *\/\nmargin-right: 0.5px; \/* Elimina m\u00e1rgenes del body *\/\n            padding: 0; \/* Elimina padding del body *\/<\/p>\n<p>        }<\/p>\n<p>        \/* Estilo para agregar padding interno en toda la p\u00e1gina *\/\n        .page-content {\n            padding: 0px; \/* Ajusta el padding seg\u00fan lo necesario *\/<\/p>\n<p>            min-height: 100vh; \/* Asegura que el contenido ocupe al menos el 100% de la altura de la ventana *\/\n        }\n    <\/style>\n<p><\/head><br \/>\n<body><\/p>\n<div class=\"page-content\">\n<p style=\"text-align: left;\"><span style=\"font-size: 24px; font-family: arial;\"><b><a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/002-nestor-saiace-home-english\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\">N\u00e9stor Saiace<\/a><\/b><\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-size: 13px; font-family: arial;\"><a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0022-catalog-english\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\">Catalog<\/a><\/span><br \/>\n<span style=\"font-size: 13px; font-family: arial;\"><a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0024-texts-english\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\">Texts<\/a><\/span><br \/>\n<span style=\"font-size: 13px; font-family: arial;\"><a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0023-expositions-english\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\">Exhitions<\/a><\/span><br \/>\n<span style=\"font-size: 13px; font-family: arial;\"><a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0025-gallery-english\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\">Gallery<\/a><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 26px;\"><b>BIOGRAPHICAL NOTICE<\/b><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><b>I- CHILDHOOD OF A BOY IN THE TWENTIES<\/b><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\"><b>N\u00e9stor Virgilio Saiace<\/b> (1923 &#8211; 2014) was born in the Buenos Aires, quarter of Almagro, of an Italian immigrant family formed by Angela Cerboni and Gregorio Saiace. They lived there all their life in Boedo, Treinta y tres, Yapey\u00fa and Castro Barros streets -frequently moving house because of economic difliculties-.<\/p>\n<p style=\"text-align: justify;\">Gregorio was a shoemaker; he was born in Tropea (Calabria), a small fishing port on the gulf of Saint Euphemia. Besides N\u00e9stor, the couple had a daughter, Diana Tea, the elder and another son, Florinio Silvio Sol, the youngest. Names of strange echoes were frequent in the first years of the century, coinciding with the broad diffusion of the anar\u00adchist ideals that prevailed among us. Libertarians -and N\u00e9stor&#8217;s father was one of them- had replaced the calendar of saint&#8217;s days by another in which liberations and redemptions were evoked, as well as astral bodies, natural phenomena, the 1793 Republican Calendar and even literary pieces. It was the time of Libertad, Liber, Luz, Sol, Helios, Floreal, Fraternal, Redento, Germinal, Armon\u00eda. These fancies ended up by upsetting the very con\u00adservative Argentine administration which, after 1917, witnessed the arrival of several Trotskys and Lenins in swaddling clothes; excited and uneasy about the future, they decided shortly after to forbid the inscription of names not included in the calendar of saints&#8217; days. Those were, as well, the times of the \u201cPatriotic League\u201d and the \u201cTraditionalist Revolution\u201d in which the \u201cdefenders of the nation\u201d shouted against the \u201cdissolving ideolo\u00adgies\u201d introduced by immigrants. Lugones in \u201cEl Payador\u201d<sup class=\"footnote\">[1]<\/sup> speaks about the \u201cultramarine plebeians who, like ungrateful beggars, make fuss in the hallway\u201d -and invented, from the beginning to the end, a bucolic \u201cgauchesca\u201d of a definite decorative sense in which they installed the true national essence. For the frightened heirs of those who had made a pariah of the gaucho Mart\u00edn Fierro, the immigrants were the scapegoat for all the difficulties of the country. The prosperity achieved by some descendants of those families who settled down to \u201cmake their America\u201d, makes us forget that for many of them life was difficult in that period of identity crisis and nationalistic reaction. The economic commotion of nine\u00adteen twenty-nine only made things worse.<\/p>\n<p style=\"text-align: justify;\">The development of those libertarian organizations in our country -so important until the decade of the twenties- was closely linked to Italian immigration, made up mostly of landless farmers and artisans. Saiace recalls in some biographical notes that his father&#8217;s anarchist ideals were over and above the domestic material needs; although Gregorio does not seem to have been an activist of the anarchist cause -briefly \u201cthe cause\u201d- he was always in trouble to keep a regular job because of his libertarian conception of existence and his little regard for the submission of workers to owners. His mother&#8217;s job at the sewing machine at home was not enough to make both ends meet. That is, poverty was everyday&#8217;s bread.<\/p>\n<p style=\"text-align: justify;\">The 1929 crisis blew a hard stroke to the Family, which in 1931 was evicted for not pay\u00ading the rent. Saiace recalls that as he was running out of breath to his aunt&#8217;s house to break her the sad news and beg her some money, he was thinking what he should do to avoid a similar situation in the future. It is perhaps this memory that prompted his picture <b><em>El Desalojo<\/em><\/b> (Evicted), painted in 1980, whose desolate protagonists seem to be waiting for an answer never to come.<\/p>\n<p style=\"text-align: justify;\">The eight-year old boy must have been deeply perturbed by the family&#8217;s wreckage; it is no doubt due to this that he started working before he was ten years old, before and after school hours, from 7 to 12 in the morning and from 17 to 20 at the evening. His first job was as an errand boy in the municipal market of the quarter; he later held the same job in a butcher&#8217;s next to the market -an important issue for his future, because there he met Jacobo Muchnik and through him he entered the Compa\u00f1\u00eda General Fabril Financiera.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-703\" src=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/07\/El-desalojo-oleo-sobre-tela-60-x-80-cm-1980-2-2.jpg\" alt=\"\" width=\"2482\" height=\"1857\" \/><\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 9px; color: gray;\"><b>El desalojo<\/b> \u2013 o\u0301leo sobre tela \u2013 60 x 80 cm \u2013 1980<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><b>II &#8211; FABRIL FINANCIERA, THE GRAPHIC ARTS AND THE GROWTH OF A FAMILY<\/b><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Fabril, with over two-thousand workers, was the most important printing establish\u00adment in South America and Jacobo Muchnik (1907-1995) -the advertising manager- an outstanding man. Born of immigrant parents from Eastern Europe, a man of a culture root\u00aded on the ideal of a democratic, just and generous Argentina, as the republican school had taught him, used to define himself as a civilizer. Mar\u00eda Teresa Le\u00f3n said of him that he had invented his own life. There is not a better example of this invention than how, in the mid\u00addle of the crisis and the rampant unemployment, he worked his way in Fabril creating his own position <sup class=\"footnote\">[2]<\/sup>, in April of 1933, he reported to Pablo Paoppi, Director of the Company&#8217;s graphic workshops, and after delivering a speech about advertising and its importance, he announced that he was not after a salary. He would rather have a percentage over the advertising jobs he might bring in and a place where to lay his belongings down. The Director agreed on the trial and shortly afterwards Muchnik ruled over several employees and managed an activity in permanent expansion over the following thirty years.<\/p>\n<p style=\"text-align: justify;\">Jacobo Muchnik used to tell that one day the butcher&#8217;s delivery boy, who was about to finish his primary school and was a friend of Jacobo&#8217;s son, had reported to him to say that he wanted to work for him. Muchnik was fond of enterprising people wishing to advance in life. On the other hand, as he was capable of holding passionate conversations with everybody, young or old, educated or illiterate very likely he enjoyed a long talk with this 14 year old adolescent who so spontaneously had approached him. So in 1937 Saiace began to work as an office boy in the Advertising Department of Fabril Financiera.<\/p>\n<p style=\"text-align: justify;\">In the thirties, the Advertising Department of Fabril gathered outstanding personalities of the Graphic Arts: Valerien Guillard, a graduate from Ulm, Ricardo Escote<sup class=\"footnote\">[3]<\/sup>, a Catalonian creator established in Argentina and Alcides Gubellini (Bolonia, 1900 &#8211; Buenos Aires, 1957), an Italian painter whose exquisite sensitivity appears in his famous and deli\u00adcate paintings (today in important private collections) and in his terracotta figures. Close to them, as a very young man, Saiace begins an activity which he will keep learning about dur\u00ading all his life and which is at the root of his pictorial calling and of his knowledge of color: graphic arts.<\/p>\n<p style=\"text-align: justify;\">In 1942, Saiace leaves Fabril to enter \u201cF. G. Profumo y Hno.\u201d, one of the best among the top fine printing shops of the city. Military service forces a pause in his career but once it is over, in 1944, he returns to Profumo.<\/p>\n<p style=\"text-align: justify;\">In 1946, he marries Lastenia Clementi, whom he had met in 1940. At the time, she was a secretary to Dr.Hugo Lifezis, a refugee Viennese lawyer, who created \u201cInternational Editors Co\u201d<a style=\"text-decoration: none; color:#572f2c\" href=\"https:\/\/www.internationaleditors.com\/es\/la-agencia\/\" target=\"_blank\" rel=\"noopener\"><sup class=\"footnote\">[*]<\/sup><\/a>, together with Jacobo Muchnik make an enterprise specializing in copyright (the first one in southamerica). In 1949 when Saiace becomes independent, he leaves \u201cProfumo\u201d and with four partners starts a graphic arts enterprise called \u201cLesague\u201d which he manages from the beginning and is still managing.<\/p>\n<p style=\"text-align: justify;\">Gabriela Clara, the couple&#8217;s first daughter, was born in 1954, and Zaida Hebe, the second one, was born four years later. On the same year Saiace ends his secondary school and reviews his multiple vocations, which end up by cancelling themselves: medicine, architecture, psychology, mathematics&#8230; And finally he arrives at a definition of his true vocation: painting.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-697\" src=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto.jpg\" alt=\"\" width=\"1500\" height=\"1728\" srcset=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto.jpg 1500w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto-260x300.jpg 260w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto-889x1024.jpg 889w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto-768x885.jpg 768w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/foto-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 9px; color: gray;\">N\u00e9stor Saiace<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><b>III\u00a0\u2013 TRAINING FOR THE PLASTIC ARTS<\/b><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">There is something very deep and passionate in Saiace\u2019s relation with his firm: it has been and still is the place of an adventure and a struggle fought with devotion and perse\u00adverance. We have already seen his early encounter with the Graphic Arts -his first school of color and graphism- since the end of the decade of the thirties. Then came the setting up of Lesague, his own printing company. This enterprise, which he founded with four partners forty-nine years ago, in which he remained alone since 1965, performed and is still performing, under his constant impulse in search of technical perfection, an outstanding activity in the printing of art works in our country. It is requested by painters anxious to obtain faithful reproductions of their works; a printing shop of art books of refined manufacture and also of numberless artists\u2019s exhibition catalogues. In its impressions, \u201cLesague\u201d devoted attentive care to obtain a flawless job. Need less to say, this permanent care goes hand in hand with a delicate sense of color and constant loyalty to the reproduction; both qualities have been for Saiace a school of demand towards his own work. Moreover, Lesague has meant for our painter the chance of meeting the greatest names of Argentine plastics, another way of familiarizing with the work and the person of his colleagues.<\/p>\n<p style=\"text-align: justify;\">In 1962, he established close contact with painting: he entered Demetrio Urruch\u00faa\u2019s (Buenos Aires, 1902 \u2013 1978) atelier. He recalls that it was a large rented hall on the first floor of an old house located in Carlos Calvo and Entre R\u00edos streets, which was reached going up a steep iron staircase. The disciples gathered there on Friday and Saturday evenings to submit the weeks\u2019 production to the master. Each one presented his work on the easel; Urruch\u00faa gazed steadily, meditated for some instants and then commented at length or asked somebody in the audience to speak. His method -Saiace says- was that: talk, ask, suggest, never approve or dismiss. He used to say he could not teach painting or drawing to anybody because these things are connatural, common to all; the master can only awake them, bring them to the light. And he added that only discipline and total devo\u00adtion on the part of the true artist could surmount his candid stage of innate knowledge to attain the real artistic expression. Urruch\u00faa\u2019s teaching was, therefore, maieutic, leading to the illumination of one\u2019s own way rather than having it traced. He had to resist, at times, tendencies towards monotony; for example, if someone abused of grey colors, he suggested using red and to whom showed an inclination towards flowers, he proposed painting fruits. Everybody started by painting still life. In apparent contradiction to the arbitrary colors of his own palette, he invited his disciples to copy the colors of eggplants, tomatoes, peach\u00ades and lemons. \u201cYou\u2019ll learn to combine colors -he repeated- because nobody teaches bet\u00adter than Nature itself\u201d. And the disciples learnt, working without theory, with enthusiasm and self confidence. Saiace treasures a kind memory of the master and those years of apprenticeship. He used to tell him to give up printing and devote himself only to painting. Once, after following closely the master\u2019s suggestions, he had to discontinue his lessons; the master prophesied: \u201cHe who leaves without being pushed out-of the painting, of course comes back without being called.\u201d And so it was.<\/p>\n<p style=\"text-align: justify;\">Many figurative and non-figurative painters of various trends, sprang from Urruch\u00faa\u2019s atelier, almost all of them owners of a strong pictorial personality. Few masters have known as he did how to display -mediating a pedagogy centered on freedom- the distinctive fea\u00adtures of each disciple. And Saiace remembers that his classes included exercises on civic virtues, a tribune against authoritarianism, injustice and falsehood. Because, to him, as he said in his memories<sup>[4]<\/sup>: \u201cThe authentic character of a work of art originates in the stand the artist takes as a man\u201d.<\/p>\n<p style=\"text-align: justify;\">Juan Battle Planas (Torroella de Mongr\u00ed, Spain, 1911, Buenos Aires, 1966), whose ate\u00adlier Saiace attended, resorted to a totally different method from Urruch\u00faa\u2019s effusive one. Critics ascribe Battle to the surrealist stream; he developed a dreamlike, mysterious work in which he reflected his spirituality, won by Zen buddhism, with great pictorial wisdom. According to Saiace, Battle was interested in the disciple\u2019s interior. The applicant\u2019s interview was an interrogatory like the homeopats\u2019 anamnesis: he wanted to know if he used to dream at night, if the wind bothered him, if he\u00a0choose cold or warm baths, what food he liked best and which were his dislikes. Battle applied automatism to is painting and that was the starting point to build the image. This method did not agree with Saiace, although he avows that his familiarity with Batlle\u2019s atelier brought him instruments to approach a pictorial reality which he had ignored up to then.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-737\" src=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta.jpg\" alt=\"\" width=\"2100\" height=\"1153\" srcset=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta.jpg 2100w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta-300x165.jpg 300w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta-1024x562.jpg 1024w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta-768x422.jpg 768w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta-1536x843.jpg 1536w, https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/08\/Alralef-Luis-Barragan-Nestor-Saiace-A-Piccoli-y-Arturo-Irureta-2048x1124.jpg 2048w\" sizes=\"auto, (max-width: 2100px) 100vw, 2100px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">With Urruch\u00faa\u2019s and Batlle Planas\u2019 teachings Saiace frequented two opposite extremes of Argentine painting of those years: one linked to the sensual expression of matter, at times discursive and emphatic and always brightened up by a great expressive strength, while the other one, Batlle\u2019s painting, appears as a mise-en-scene of a phantasmagorical interior world, conveyed by a subtle color treatment. These sources do not appear in Saiace\u2019s painting, but it might be questioned whether they were not incorporated to the matter of the work itself in a synthesis between two apparently disconnected opposites. Perhaps the bridge that allowed Saiace to produce this unexpected synthesis was Julio Barrag\u00e1n\u2019s method. He commands an encyclopedic knowledge of painting and develops his expressive means entirely at ease. By the turn of the decade of the seventies, when he meets Saiace, he is a fully mature painter, whose merits deserved the Great Honor Prize awarded by the National Sal\u00f3n a few years later.<\/p>\n<p style=\"text-align: justify;\">In 1969, Julio Barrag\u00e1n is preparing a one-man exhibition at\u00a0Wildenstein\u2019s\u00a0and is looking for someone to print for him a fine catalogue. Don Fernando Arranz, headmaster of the National School of Ceramics, suggests Saiace for the job. Saiace printed the catalogue and from the first encounter with Barrag\u00e1n their relationship grew into a sound friendship. When Saiace showed him what he had painted at Urruchua\u2019s atelier, Barrag\u00e1n told him too that he should devote himself\u00a0to painting and invited him to paint together. Saiace admits that his real master was Julio Barrag\u00e1n and that their encounter was most important for his formation. According to him, Barrag\u00e1n took his task to heart and his appraisals were always sound and pertinent. Thus, Saiace was able to find his own path. Because Barrag\u00e1n, as well as\u00a0Urruch\u00faa, more than teaching a technique, accomplished the function of giving birth to Saiace\u2019s rich pictorial personality. Like\u00a0Urruch\u00faa,\u00a0he taught him to be himself, which is the supreme teaching a master can dispense. The dialogue between them actually goes on to this day.<\/p>\n<p style=\"text-align: justify;\">Saiace\u2019s visits to European and North American Museums fill an outstanding place in his artistic formation. He cherishes the memory of the first time he found himself facing a Munch, or a Greco, a Van Gogh or a Gaugin and he enthusiastically describes those moments as so many revelations. The list of pilgrimage sites is a long one, the stations after a painter, a work, a museum are numerous: Madrid, Barcelona, Paris, London, Amsterdan, Otterlo, Oslo, New York\u2026 Another excitement: the Mediterranean world, his parents\u2019 own from which he brought us the\u00a0<b><em>Casamiento en Tropea<\/em><\/b>\u00a0de 1977, the world of Ulysses\u2019 and Eneas\u2019 travels, the source of so many perdurable archetypes, that of cities and places where reign uncomparable lights and unfathomable shadows: Rome, Florence, Calabria, Sicily, Athens, Delphi, the islsands\u2026 and the land of mystery: Egypt.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-688\" src=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/12\/Casamiento-en-Tropea-oleo-sobre-tela-130-x-80-cm-1977-scaled-1.jpg\" alt=\"\" width=\"1587\" height=\"2560\" \/><\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 9px; color: gray;\"><strong>Casamiento en Tropea<\/strong> &#8211; o\u0301leo sobre tela &#8211; 130 x 80 cm &#8211; 1977<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">In 1973 he gathers an enthusiastic critique at his first one-man exhibition at Van Riel Gallery. This success repeats itself in the subsequent exhibitions which, through a commendation by maestro Raul Russo, he will release at Wildenstein\u2019s between 1975 and 1990, date of the gallery\u2019s closing up. From 1976 Saiace participated at the National Exhibition of Plastic Arts Salons. He was awarded the Sadao Ando Prize at the LXVI National Exhibition, in 1977.<\/p>\n<p style=\"text-align: justify;\">Saiace\u2019s biographical outline ends here. From his first one-man exhibition at Van Riel Gallery, his work is public and has been judged by art critics and connoisseurs.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text align: right;\"><span style=\"font-size: 11px;\">[1] &#8211; <strong>Leopoldo Lugones<\/strong>; <em>El Payadtor<\/em>, Otero y C\u00eda, Buenos Aires, 1916.<br \/>\n[2] &#8211; <strong>Jacobo Muchnik<\/strong>; <em>Cuentos sin cuento, Muchnik<\/em> Editores, Barcelona, 1985.<br \/>\n[3] &#8211; <strong>Guillard<\/strong> y <strong>Escot\u00e9<\/strong> dirigieron en su momento la secci\u00f3n \u201cArte\u201c del \u201cDepartamento Publicitario\u201c de la \u201cCompa\u00f1\u00eda General Fabril Financiera\u201c.<br \/>\n[4] &#8211; <strong>Demetrio Urruch\u00faa<\/strong>; <em>Memorias de un pintor<\/em>, citado por <strong>Osiris Chierico<\/strong> en <em>Cat\u00e1logo de la muestra homenaje<\/em>, Buenos Aires 1988.<br \/>\n[5] &#8211; <strong>Mauricio I. Neuman<\/strong>; <strong><em>Julio Barrag\u00e1n<\/em><\/strong>, (66 reproducciones en color y 22 en blanco y negro), Ediciones Lesague, Buenos Aires, 1980.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: 14px;\">\u2022 <a style=\"text-decoration: none; outline:none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/about-nestor-saices-painting\/\" onmouseover=\"this.style.color='#555555';\" onmouseout=\"this.style.color='#303030';\"><b>next &#8211;&gt;<\/b><\/a><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;font-size:13px;\"><span style=\"font-family: arial;word-spacing: 150%;\"><span style=\"color:#d4d4d4;\"><a style=\"text-decoration: none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/002-nestor-saiace-home-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp; Home<\/a><a style=\"text-decoration: none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0022-catalog-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp;\u2022 Catalog<\/a><a style=\"text-decoration:none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0024-texts-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp;\u2022 Texts<\/a><a style=\"text-decoration:none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0023-expositions-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp;\u2022 Exhibitions<\/a><\/span><a style=\"text-decoration: none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0025-gallery-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp;\u2022 Gallery<\/a><a style=\"text-decoration: none; outline: none;\" href=\"https:\/\/nestor.saiace.com\/index.php\/nestor-saiace-0025-contact-english\/\" onmouseover=\"this.style.color='#666666';\" onmouseout=\"this.style.color='#121212';\">&nbsp;\u2022 Contact<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>N\u00e9stor Saiace Catalog Texts Exhitions Gallery &nbsp; &nbsp; BIOGRAPHICAL NOTICE &nbsp; &nbsp; I- CHILDHOOD OF A BOY IN THE TWENTIES &nbsp; N\u00e9stor Virgilio Saiace (1923 &#8211; 2014) was born in the Buenos Aires, quarter of Almagro, of an Italian immigrant family formed by Angela Cerboni and Gregorio Saiace. They lived there all their life in [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"class_list":["post-1004","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>N\u00e9stor Saiace - 00241 - Texts - Biographical Notice - English - N\u00e9stor Saiace<\/title>\n<meta name=\"description\" content=\"N\u00e9stor Saiace - 00241 - Texts - Biographical Notice - English N\u00e9stor Saiace %\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/nestor.saiace.com\/index.php\/biographical-notice\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"N\u00e9stor Saiace - 00241 - Texts - Biographical Notice - English - N\u00e9stor Saiace\" \/>\n<meta property=\"og:description\" content=\"N\u00e9stor Saiace - 00241 - Texts - Biographical Notice - English N\u00e9stor Saiace %\" \/>\n<meta property=\"og:url\" content=\"https:\/\/nestor.saiace.com\/index.php\/biographical-notice\/\" \/>\n<meta property=\"og:site_name\" content=\"N\u00e9stor Saiace\" \/>\n<meta property=\"article:modified_time\" content=\"2025-04-05T16:50:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/nestor.saiace.com\/wp-content\/uploads\/2024\/10\/12.-airelibre.-120x90-sin-borde-1024x770.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"770\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data1\" content=\"14 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"ScholarlyArticle\",\"@id\":\"https:\\\/\\\/nestor.saiace.com\\\/index.php\\\/biographical-notice\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/nestor.saiace.com\\\/index.php\\\/biographical-notice\\\/\"},\"author\":{\"name\":\"audiosansfason audiosansfason\",\"@id\":\"https:\\\/\\\/nestor.saiace.com\\\/#\\\/schema\\\/person\\\/a81f2515617bedbab6c89b57ea6c1061\"},\"headline\":\"N\u00e9stor Saiace &#8211; 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