by J. Feinsilber

A cultivated spirit, H. Giuffré -without taking into account the backroom of the exhibition, nor color as main vehicle to his emotion- presents 18 works in Galería Del Retiro (oil on canvass, graphite, watercolor and pastel), mainly self portraits, nude (of a maybe too close protagonist) and other paintings titled'Vegetable Life' and 'Still Life' in which the self portrait is present as a shadow on the background

Paintings dated 1962-1984, including those exhibited at the wonderful retrospective show held in September 1983 at the "Museo Rosa Galisteo de Rodríguez" of Santa Fe, shows the consistency of his proposals, founded on what Giuffré names "realism of relations, or structures of relations".

For us the first part of this meditation is referred to expression through portrait, which appears within all mental and emotional elements on the surface of the picture without any implication of 'superficiality.' Hence the heightening of these works which catch the observer's interest from the full and only eloquence of the irresistible human destiny, and without any necessity to appeal to other variances of painted image. The "structure of relation" -not divorcing the modern fidelity achieved by philosophical study of expression- must refer to the necessity of its concretion in the questioning environment that involves every different experience throughout daily action, and thus configurate renewed compositions.

A definite artist

Giuffré then embraces the real expressive quality as a communication medium, with enough potential energy not to need visions of appearance nor virtuality. This is the skill of this excellent painter to discover -without the intermediation' of introspective searching- the power to offer the acuteness of his interiority.

One of Giuffré's most significant qualities is his talent to translate to the canvass the expression primarily observed in reality, just in selfportraits or in other protagonists, figures, nude or still nature. The artist presents some of them as vanishing, others resplendent, its outlines almost screaming, and most of them with color strokes never aimed to adorn the theme but to give us his full possession of the skills of a great painter.

The most remarkable paintings, 'Self Portrait With Pencil'; 'Nude', 'Remember', 'Vegetable Life', 'Self Portrait with Shadow', 'Self Portrait', 'Still Nature' and a watercolor. Héctor Giuffré seems to be a man of another time for his seriousness, vigorously placed as an artist on present time*

*Newspaper "Ambito Financiero," Buenos Aires, September 25, 1984