ABSTRACT
From 1911 onward, the National Salons in Argentina offered women artists a chance to make their work known and gain recognition. This article analyzes their interventions from 1924, the year of consecration of Raquel Forner, to 1939, when Ana Weiss de Rossi was distinguished with the maximum award. In addition, the trajectory of three artists (Catalina Mórtola de Bianchi, María Carmen Portela Cantilo and Hildara Pérez de Llansó) who found in the National Salons a way (although not the only one) presented themselves to the public and critics are analyzed. The reception, the critical fortune and the insertion in museums of these five women artists, four of whom have been displaced from the histories of art, are examined.
KEYWORDS:
Women artists; National Salons; Argentina
