Lidy Prati - Revision history

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	1991 – "Arte Concreto-Invención-Arte Madi, Argentinien 1945-1960", Haus für Konstruktive und Konkrete Kunst, Zürich, April to July.		1991 – "Arte Concreto-Invención-Arte Madi, Argentinien 1945-1960", Haus für Konstruktive und Konkrete Kunst, Zürich, April to July.

	1992 – "Latin American Artists of the Twentieth Century", The Museum of Modern Art, New York		1992 – "Latin American Artists of the Twentieth Century", The Museum of Modern Art, New York.

	1994 – "Art from Argentina 1920 1994", Museum of Modern Art, Oxford, England.		1994 – "Art from Argentina 1920 1994", Museum of Modern Art, Oxford, England.

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	In 1942 she had her first-ever exhibition at the Salon Peuser in [[Buenos Aires]].<ref name="BA">[http://www.buenosaires.gob.ar/areas/cultura/arteargentino/05ingles/04biografias_en/prati_en.php "Lidy Prati Biography"], Retrieved 21 September 2014.</ref>		In 1942 she had her first-ever exhibition at the Salon Peuser in [[Buenos Aires]].<ref name="BA">[http://www.buenosaires.gob.ar/areas/cultura/arteargentino/05ingles/04biografias_en/prati_en.php "Lidy Prati Biography"], Retrieved 21 September 2014.</ref>

	On 11 March in 1944, despite her parents' wishes, Prati married artist [[Tomás Maldonado]] with whom she had started taking art classes from two years prior.<ref name=":0">{{Cite web\|title=Art & Art Maldonado Tomás\|url=http://www.artandartcollection.com/en/artists/maldonado-tomas/\|url-status=dead\|archive-url=https://web.archive.org/web/20171116131405/http://www.artandartcollection.com/en/artists/maldonado-tomas/\|archive-date=16 November 2017\|access-date=2017-11-15\|website=www.artandartcollection.com\|language=en-US}}</ref> For the next eight years, they participated in collaborations and exhibitions together. In 1952''',''' however''',''' Prati and Maldonado separated and she traveled to Europe with her parents where she studied Renaissance paintings and met with several artists including [[Georges Vantongerloo\|George Vantongerloo]], [[Max Bill]], [[Giacomo Balla]], and [[Piero Dorazio]]. In 1954, Prati and Maldonado began their divorce proceedings, at which time Prati stopped painting, though she continued to draw.		On 11 March in 1944, despite her parents' wishes, Prati married artist [[Tomás Maldonado]] with whom she had started taking art classes from two years prior.<ref name=":0">{{Cite web\|title=Art & Art Maldonado Tomás\|url=http://www.artandartcollection.com/en/artists/maldonado-tomas/\|url-status=dead\|archive-url=https://web.archive.org/web/20171116131405/http://www.artandartcollection.com/en/artists/maldonado-tomas/\|archive-date=16 November 2017\|access-date=2017-11-15\|website=www.artandartcollection.com\|language=en-US}}</ref> For the next eight years, they participated in collaborations and exhibitions together. In 1952''',''' however''',''' Prati and Maldonado separated and she traveled to Europe with her parents where she studied Renaissance paintings and met with several artists including [[Georges Vantongerloo\|George Vantongerloo]], [[Max Bill]], [[Giacomo Balla]], and [[Piero Dorazio]]. In 1954, Prati and Maldonado began their divorce proceedings, at which time Prati stopped painting, though she continued to draw.

	For the next part of her life, Prati had several different careers. She continued her artistic career by working as a graphic and layout designer. She also began to work as a clothing and jewelry designer. From 1971 to 2001, Prati worked for the Argentine Ministero Relaciones Exteriores. In the 1980s, she served as secretary to diplomatic directors of the Department of Western. She performed administrative tasks at the Ministero and in 1980 traveled to Tunisia. Prati worked as an art critic on a radio program from 1970 to 1974 and for the art magazine ''Artinf'', which she had co-founded with Silvia de Ambrosini, Odile Baron Supervielle, and Germaine Derbecq.		For the next part of her life, Prati had several different careers. She continued her artistic career by working as a graphic and layout designer. She also began to work as a clothing and jewelry designer. From 1971 to 2001, Prati worked for the Argentine Ministero Relaciones Exteriores. In the 1980s, she served as secretary to diplomatic directors of the Department of Western. She performed administrative tasks at the Ministero and in 1980 traveled to Tunisia. Prati worked as an art critic on a radio program from 1970 to 1974 and for the art magazine ''Artinf'', which she had co-founded with Silvia de Ambrosini, Odile Baron Supervielle, and Germaine Derbecq.

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	'''Lidia '''"'''Lidy'''" '''Elena Prati''' (1921–2008) was an [[Argentine]] painter who was known for her abstract, geometric paintings. Her artwork called into question representational art and was influential in defining the concrete art movement in Latin America. Prati contributed to the publication of ''Arturo'' magazine and during the 1940s, was one of the founding members of the ''Asociación Arte Concreto-Invención ''(AACI) art movement (or Concrete-Invention Art Association) along with [[Enio Iommi]] and [[Tomás Maldonado]].<ref name="Brit">[http://www.britannica.com/EBchecked/topic/1193621/Concrete-Invention "Concrete Invention"], ''Encyclopædia Britannica'', Retrieved 21 September 2014.</ref> While she is primarily known for her concrete art paintings, Prati also worked in graphic and layout design and worked with textiles and jewelry.<ref>{{Cite web\|title=Artnexus\|url=https://www.artnexus.com/en/magazines/article-magazine-artnexus/5d63f51a90cc21cf7c0a24ab/76/yente-lidy-prati\|access-date=2021-11-21\|website=www.artnexus.com}}</ref>		'''Lidia '''"'''Lidy'''" '''Elena Prati''' (1921–2008) was an [[Argentine]] painter who was known for her abstract, geometric paintings. Her artwork called into question representational art and was influential in defining the concrete art movement in Latin America. Prati contributed to the publication of ''Arturo'' magazine and during the 1940s, was one of the founding members of the [[Asociación Arte Concreto-Invención]] (AACI) art movement (or Concrete-Invention Art Association) along with [[Enio Iommi]] and [[Tomás Maldonado]].<ref name="Brit">[http://www.britannica.com/EBchecked/topic/1193621/Concrete-Invention "Concrete Invention"], ''Encyclopædia Britannica'', Retrieved 21 September 2014.</ref> While she is primarily known for her concrete art paintings, Prati also worked in graphic and layout design and worked with textiles and jewelry.<ref>{{Cite web\|title=Artnexus\|url=https://www.artnexus.com/en/magazines/article-magazine-artnexus/5d63f51a90cc21cf7c0a24ab/76/yente-lidy-prati\|access-date=2021-11-21\|website=www.artnexus.com}}</ref>

	==~~Early life~~==		==Biography==
	Lidia Elena Prati was born in [[Resistencia, Chaco]], [[Argentina]] in 1921 into an Italian and Swiss-German immigrant family.<ref name="March">[http://www.march.es/arte/madrid/exposiciones/america/los_artistas.aspx?l=2 "Lidy Prati"] {{Webarchive\|url=https://web.archive.org/web/20140521201001/http://www.march.es/arte/madrid/exposiciones/america/los_artistas.aspx?l=2 \|date=21 May 2014 }}, Juan March Foundation, Retrieved 21 September 2014.</ref> Her father, Olinto Prati, a native of Longiana, Italy, and her mother, Hilda Usinger, from the Cañada de Gómez province of Santa Fe, were married around 1916. Her father had been a public accountant in Italy, though, in Argentina, he abandoned this profession and became a prominent textile industrialist, earning him the title, “The Cotton King” of Chaco. He also produced kaolin, wood fiber, chemical products, and owned several car dealerships (Ford, Renault, and IKA). His success in these industries provided him with financial assets integral in the creation and publication of ''Arturo'' magazine.		Lidia Elena Prati was born in [[Resistencia, Chaco]], [[Argentina]] in 1921 into an Italian and Swiss-German immigrant family.<ref name="March">[http://www.march.es/arte/madrid/exposiciones/america/los_artistas.aspx?l=2 "Lidy Prati"] {{Webarchive\|url=https://web.archive.org/web/20140521201001/http://www.march.es/arte/madrid/exposiciones/america/los_artistas.aspx?l=2 \|date=21 May 2014 }}, Juan March Foundation, Retrieved 21 September 2014.</ref> Her father, Olinto Prati, a native of Longiana, Italy, and her mother, Hilda Usinger, from the Cañada de Gómez province of Santa Fe, were married around 1916. Her father had been a public accountant in Italy, though, in Argentina, he abandoned this profession and became a prominent textile industrialist, earning him the title, “The Cotton King” of Chaco. He also produced kaolin, wood fiber, chemical products, and owned several car dealerships (Ford, Renault, and IKA). His success in these industries provided him with financial assets integral in the creation and publication of ''Arturo'' magazine.

	As a child, Prati lived with her family in Chatara, Chaco where her father’s business was based, though when she was 6, she lived with her grandparents for a year in Rimini, Italy where she learned Italian language and culture.		As a child, Prati lived with her family in Chatara, Chaco where her father’s business was based, though when she was 6, she lived with her grandparents for a year in Rimini, Italy where she learned Italian language and culture.

	In the 1930s, Prati and her sister Pierina began attending the religious boarding school, ''Nuestra Señora de la Misterordia'', in Rosario. In 1936, at 15, Prati began school at the ''Instituto Inmaculado Corazón de Maria “Adoratrices"'', a traditional Catholic school in Buenos Aires. Shortly after her enrollment, she began living with her uncle Francisco Prati in a luxurious apartment building where she came into contact with culture, art, and music.		In the 1930s, Prati and her sister Pierina began attending the religious boarding school, Nuestra Señora de la Misterordia, in Rosario. In 1936, at 15, Prati began school at the Instituto Inmaculado Corazón de Maria “Adoratrices", a traditional Catholic school in Buenos Aires. Shortly after her enrollment, she began living with her uncle Francisco Prati in a luxurious apartment building where she came into contact with culture, art, and music.

	In 1938, Prati received her teaching degree from ''Las Adoratrices'', and in 1942 she moved back in with her parents who had recently moved from Chaco to Buenos Aires.		In 1938, Prati received her teaching degree from Las Adoratrices, and in 1942 she moved back in with her parents who had recently moved from Chaco to Buenos Aires.

	In 1942 she had her first-ever exhibition at the Salon Peuser in [[Buenos Aires]].<ref name="BA">[http://www.buenosaires.gob.ar/areas/cultura/arteargentino/05ingles/04biografias_en/prati_en.php "Lidy Prati Biography"], Retrieved 21 September 2014.</ref>		In 1942 she had her first-ever exhibition at the Salon Peuser in [[Buenos Aires]].<ref name="BA">[http://www.buenosaires.gob.ar/areas/cultura/arteargentino/05ingles/04biografias_en/prati_en.php "Lidy Prati Biography"], Retrieved 21 September 2014.</ref>

	On March 11<sup>th</sup> in 1944, despite her parents' wishes, Prati married artist [[Tomás Maldonado]] with whom she had started taking art classes from two years prior.<ref name=":0">{{Cite web\|title=Art & Art Maldonado Tomás\|url=http://www.artandartcollection.com/en/artists/maldonado-tomas/\|url-status=dead\|archive-url=https://web.archive.org/web/20171116131405/http://www.artandartcollection.com/en/artists/maldonado-tomas/\|archive-date=16 November 2017\|access-date=2017-11-15\|website=www.artandartcollection.com\|language=en-US}}</ref> For the next 8 years, they participated in ~~AACI~~ collaborations and exhibitions together. In 1952''',''' however''',''' Prati and Maldonado separated and she traveled to Europe with her parents where she studied Renaissance paintings and met with several artists including [[Georges Vantongerloo\|George Vantongerloo]], [[Max Bill]], [[Giacomo Balla]], and [[Piero Dorazio]]. In 1954, Prati and Maldonado began their divorce proceedings, at which time Prati stopped painting, though she continued to draw.		On March 11<sup>th</sup> in 1944, despite her parents' wishes, Prati married artist [[Tomás Maldonado]] with whom she had started taking art classes from two years prior.<ref name=":0">{{Cite web\|title=Art & Art Maldonado Tomás\|url=http://www.artandartcollection.com/en/artists/maldonado-tomas/\|url-status=dead\|archive-url=https://web.archive.org/web/20171116131405/http://www.artandartcollection.com/en/artists/maldonado-tomas/\|archive-date=16 November 2017\|access-date=2017-11-15\|website=www.artandartcollection.com\|language=en-US}}</ref> For the next eight years, they participated in collaborations and exhibitions together. In 1952''',''' however''',''' Prati and Maldonado separated and she traveled to Europe with her parents where she studied Renaissance paintings and met with several artists including [[Georges Vantongerloo\|George Vantongerloo]], [[Max Bill]], [[Giacomo Balla]], and [[Piero Dorazio]]. In 1954, Prati and Maldonado began their divorce proceedings, at which time Prati stopped painting, though she continued to draw.

	For the next part of her life, Prati had several different careers. She continued her artistic career by working as a graphic and layout designer. She also began to work as a clothing and jewelry designer. From 1971 to 2001, Prati worked for the Argentine ''Ministero Relaciones Exteriores''. In the 1980s, she served as secretary to diplomatic directors of the Department of Western. She performed administrative tasks at the Ministero and in 1980 traveled to Tunisia. ~~Lidy~~ worked as an art critic on a radio program from 1970 to 1974 and for the art magazine ''Artinf'', which she had co-founded with Silvia de Ambrosini, Odile Baron Supervielle, and Germaine Derbecq.		For the next part of her life, Prati had several different careers. She continued her artistic career by working as a graphic and layout designer. She also began to work as a clothing and jewelry designer. From 1971 to 2001, Prati worked for the Argentine Ministero Relaciones Exteriores. In the 1980s, she served as secretary to diplomatic directors of the Department of Western. She performed administrative tasks at the Ministero and in 1980 traveled to Tunisia. Prati worked as an art critic on a radio program from 1970 to 1974 and for the art magazine ''Artinf'', which she had co-founded with Silvia de Ambrosini, Odile Baron Supervielle, and Germaine Derbecq.

	Prati’s life after divorcing Maldonado did not come without challenges. From 1960 on, ~~Lidy~~ had several psychiatric episodes. In the early 1960s, she was hospitalized at Hospital Pirovano in Buenos Aires, and another time while she was in Tunisia. Prati also experienced unstable financial circumstances due to the loss of her family’s business after the death of her father in 1964.		Prati’s life after divorcing Maldonado did not come without challenges. From 1960 on, Prati had several psychiatric episodes. In the early 1960s, she was hospitalized at Hospital Pirovano in Buenos Aires, and another time while she was in Tunisia. Prati also experienced unstable financial circumstances due to the loss of her family’s business after the death of her father in 1964.

	Prati died on August 19, 2008 in Buenos Aires, Argentina.<ref name=":1">{{Cite book\|last=Yente\|url=https://www.worldcat.org/oclc/645892432\|title=Yente/Prati\|date=2009\|publisher=Malba, Fundación Constantini\|others=Lidia Elena Prati, Adriana Lauria, María Amalia García, Museo de Arte Latinoamericano de Buenos Aires, Fundación Eduardo F. Costantini\|isbn=978-987-1271-22-1\|location=Buenos Aires\|oclc=645892432}}</ref>		Prati died on August 19, 2008 in Buenos Aires, Argentina.<ref name=":1">{{Cite book\|last=Yente\|url=https://www.worldcat.org/oclc/645892432\|title=Yente/Prati\|date=2009\|publisher=Malba, Fundación Constantini\|others=Lidia Elena Prati, Adriana Lauria, María Amalia García, Museo de Arte Latinoamericano de Buenos Aires, Fundación Eduardo F. Costantini\|isbn=978-987-1271-22-1\|location=Buenos Aires\|oclc=645892432}}</ref>
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	Prati’s artistic career began in 1944 when she began taking art classes with [[Tomás Maldonado\|Thomás Maldonado]] after her cousin, María Victoria “Bimbi” Prati had met the young artist in a chance encounter. The basic drawing classes she took in school and Maldonado’s classes would be the only were the only training she received, leading her to proclaim herself a self-taught artist. In 1942 she had her first ever exhibition at the Salon Peuser in [[Buenos Aires]]. <ref name="BA" />		Prati’s artistic career began in 1944 when she began taking art classes with [[Tomás Maldonado\|Thomás Maldonado]] after her cousin, María Victoria “Bimbi” Prati had met the young artist in a chance encounter. The basic drawing classes she took in school and Maldonado’s classes would be the only were the only training she received, leading her to proclaim herself a self-taught artist. In 1942 she had her first ever exhibition at the Salon Peuser in [[Buenos Aires]]. <ref name="BA" />

	In 1944, Prati contributed her artwork to the one-time publication ''Arturo''. This publication was spearheaded by a group of artists, including [[Carmelo Arden Quin]], [[Gyula Kosice]], and Rhod Rothfuss, Maldonado, Edgar Bayley, [[Joaquín Torres García]], [[Piet Mondrian]], and [[Wassily Kandinsky]]. These artists were among those with whom she had begun meeting with the previous year at the Café Rubí in Buenos Aires. Their publication of ''Arturo was'' partially funded by her father and it is now considered to be an important precursor to the ~~later~~ avant-garde ~~Concrete~~-~~Invention~~ and [[Madí]] art movements in Argentina.<ref name="Brit" /> These artists would later split into two separate groups; Quin, Kosice, and Rothfuss would form Madí and Maldonado the Concrete-Invention group, respectively. <ref name=":1" />		In 1944, Prati contributed her artwork to the one-time publication ''Arturo''. This publication was spearheaded by a group of artists, including [[Carmelo Arden Quin]], [[Gyula Kosice]], and [[Rhod Rothfuss]], Maldonado, Edgar Bayley, [[Joaquín Torres García]], [[Piet Mondrian]], and [[Wassily Kandinsky]]. These artists were among those with whom she had begun meeting with the previous year at the Café Rubí in Buenos Aires. Their publication of ''Arturo was'' partially funded by her father and it is now considered to be an important precursor to the avant-garde [[Asociación Arte Concreto-Invención]] and [[Madí]] art movements in Argentina.<ref name="Brit" /> These artists would later split into two separate groups; Quin, Kosice, and Rothfuss would form Madí and Maldonado the Concrete-Invention group, respectively. <ref name=":1" />

	Throughout the 1940s, Prati participated in several exhibitions, collaborated with other concrete artists, and taught Concrete art and industrial design in Terezopolis, Rio de Janeiro State, Brazil with Maldonado. <ref name=":0" />		Throughout the 1940s, Prati participated in several exhibitions, collaborated with other concrete artists, and taught Concrete art and industrial design in Terezopolis, Rio de Janeiro State, Brazil with Maldonado. <ref name=":0" />

	In 1945, Edgar Bayley labeled the Argentine response to the European [[Concrete art]] movement ''invencionismo''. This same group of artists that Bayley identified would later become the ''Asociación Arte Concreto-Invención'' art movement.<ref name="Amor">Amor, Monica. [https://www.academia.edu/7267385/Displaced_Boundaries_Geometric_Abstraction_from_Pictures_to_Objects "Displaced Boundaries: Geometric Abstraction from Pictures to Objects"], ''Academia.edu'', Retrieved 21 September 2014.</ref> In August 1946 Prati was one of the signatories of the ''Inventionist Manifesto'' that was published in the first edition of the group's magazine, ''Art Concreto.''<ref name="BA" /> In line with the abstract, non-figurative leanings of the Concrete-Inventionists, Prati's paintings during this period were highly abstract, geometric, and colorful. Indeed, a key influence on her aesthetic style was the minimalist [[Piet Mondrian]].<ref>Cotter, Holland. [https://www.nytimes.com/2001/09/28/arts/art-review-idealism-and-spirit-in-visions-of-modernism-south-american-style.html "Idealism in Spirit in Visions of Modernism, South American Style"] ''The New York Times'', Retrieved 17 September 2014.</ref> She also experimented with shaped canvases. In 1950 she participated in the ''Arte Concreto'' exhibition at the ''Instituto De Arte Moderno in Buenos Aires''.<ref name="BA" />		In 1945, Edgar Bayley labeled the Argentine response to the European [[Concrete art]] movement ''invencionismo''. This same group of artists that Bayley identified would later become the Asociación Arte Concreto-Invención art movement.<ref name="Amor">Amor, Monica. [https://www.academia.edu/7267385/Displaced_Boundaries_Geometric_Abstraction_from_Pictures_to_Objects "Displaced Boundaries: Geometric Abstraction from Pictures to Objects"], ''Academia.edu'', Retrieved 21 September 2014.</ref> In August 1946 Prati was one of the signatories of the ''Inventionist Manifesto'' that was published in the first edition of the group's magazine, ''Art Concreto.''<ref name="BA" /> In line with the abstract, non-figurative leanings of the Concrete-Inventionists, Prati's paintings during this period were highly abstract, geometric, and colorful. Indeed, a key influence on her aesthetic style was the minimalist [[Piet Mondrian]].<ref>Cotter, Holland. [https://www.nytimes.com/2001/09/28/arts/art-review-idealism-and-spirit-in-visions-of-modernism-south-american-style.html "Idealism in Spirit in Visions of Modernism, South American Style"] ''The New York Times'', Retrieved 17 September 2014.</ref> She also experimented with shaped canvases. In 1950 she participated in the ''Arte Concreto'' exhibition at the [[Instituto De Arte Moderno]] in Buenos Aires.<ref name="BA" />

	In 1952, Prati traveled to Europe.<ref name=BA/> During this time she and Maldonado befriended the Swiss artist [[Max Bill]], who was an early practitioner of European Concrete art.<ref name=BA/> Max Bill believed that the Argentine artists were creating “true” concrete art and he was especially impressed with Prati’s artwork, likely her ''Composición serial'' (Serial Composition, 1948). <ref name=":2" />		In 1952, Prati traveled to Europe.<ref name=BA/> During this time she and Maldonado befriended the Swiss artist [[Max Bill]], who was an early practitioner of European Concrete art.<ref name=BA/> Max Bill believed that the Argentine artists were creating “true” concrete art and he was especially impressed with Prati’s artwork, likely her ''Composición serial'' (Serial Composition, 1948). <ref name=":2" />