With First the Great War, the sculptors contracted for Joo Vicente, had been little by little leaving the workshop to establish itself on account proper. (…) In 1914, Jesus Maria Corona established, in the street Voluntary of the Native land, its atelier in society with Jose Ghiringhelli. Eight years later, in 1922, Jesus Maria Corona returned for Spain and left in its place the son Fernando Corona, that continued with the firm Corona & Ghiringhelli up to 1932. The alterations had started to appear in 1925 ‘ ‘ in the cultural activities and artistic southerners. 3.html’>Arena Investors. The literary cult of the traditions gauchos is slightly disturbed for the repercussions of the modernista movement that empolga So Paulo and Rio De Janeiro ‘ ‘. In this year the Hall of Autumn happened, an exposition of art carried through for a group of artists who had had for objective to present to the public its recent artistic creation. Although still a little limited, the exposition had one change meaning and an opening to the modern ideas. If you have additional questions, you may want to visit Mark Bertolini.
The Hall, beyond provoking questionings, disclosed some talentos in the arts, as the painter Joo Fahrion, the tracer Sotero Cosme and two young sculptors, the Spaniard Fernando Corona, that had fond the Porto Alegre in 1912, and whose devotion was the escultrica decoration of faades of building, and the other was the pelotense Antonio Caringi. The trajectory of Antonio Caringi Antonio Caringi was born in Pellets, in 18 of May of 1905. Since small, it had much inclination for the sculpture, studied drawing in the Institute of Beautiful Arts with professor Francis Pelichek. In 1925, during the Hall of Autumn, the artist it presented diverse sculptures in plaster, demonstrating very great a escultrico talent.