Lidy Prati

Lidia "Lidy" Elena Prati (1921–2008) was an Argentine painter who was known for her abstract, geometric paintings. During the 1940s, Prati 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.[1]

Lidy Prati
Born
Lidia Prati

1921
Resistencia, Chaco, Argentina
Died2008
Buenos Aires, Argentina
NationalityArgentine
Known forPainting
StyleAbstract art

Early life

Lidia Elena Prati was born in Resistencia, Chaco, Argentina in 1921.[2] In 1942 she had her first ever exhibition at the Salon Peuser in Buenos Aires.[3] She married her fellow artist Tomás Maldonado in 1944. [4] During that same year, Prati and Maldonado were both artists in the Argentinian artistic movement Madí.

Career

In 1944 Prati contributed to the one-time publication Arturo.[1] This publication was spearheaded by a group of artists, including Carmelo Arden Quin, Gyula Kosice, and Rhod Rothfuss, and it is now considered to be an important precursor to the later avant-garde Concrete-Invention and Madí art movements in Argentina.[1] The Quin, Kosice and Rothfuss would later form Madí and Maldonado the Concrete-Invention group, respectively. Other artists who contributed to Arturo included Joaquín Torres García, Piet Mondrian, and Wassily Kandinsky.[1]

In 1945 Edgar Bayley labeled the Argentine response to the European Concrete art movement invencionismo.[5] This same group of artists that Bayley identified would later become the Asociación Arte Concreto-Invención art movement.[5] In August 1946 Prati was one of the signatories of the Inventionist Manifesto that was published in the first edition of the groups magazine, Art Concreto.[3] 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.[6] She also experimented with shaped canvases. In 1950 she participated in the Arte Concreto exhibition at the Instituto De Arte Moderno in Buenos Aires.[3]

In 1952 Prati traveled to Europe.[3] During this time she befriended the Swiss artist Max Bill, who was an early practitioner of European Concrete art.[3] In 1952 Prati joined the Grupo de Artistas Modernos de la Argentina, a multi-disciplinary art movement, at the request of the Argentine poet Aldo Pellegrini.[3] In 1952 Prati exhibited with the group in an exhibition entitled Grupo de Artistas Modernos de la Argentina that Pellegrini organized at the Viau Galería de Arte in Buenos Aires.[7]

In the mid-1950s, Prati abandoned painting in favor of graphic design, jewelry and textiles.[2]

In 1963 Prati not only took part in but also designed the exhibition poster for 20 Años de Arte Concreto (or "20 Years of Concrete Art") at the Buenos Aires Museum of Modern Art.[3]

In 1970 Prati co-founded the magazine Artinf with the artists Germaine Derbecq, Silvia de Ambrosini, and Odile Baron Supervielle.[8]

Death

Prati died in Buenos Aires in 2008.[3]

Public collections

Prati's work can be found in a number of public collections, including:

gollark: <@151391317740486657> Do you know what "unsupported" means? PotatOS is not designed to be used this way.
gollark: Specifically, 22 bytes for the private key and 21 for the public key on ccecc.py and 25 and 32 on the actual ingame one.
gollark: <@!206233133228490752> Sorry to bother you, but keypairs generated by `ccecc.py` and the ECC library in use in potatOS appear to have different-length private and public keys, which is a problem.EDIT: okay, apparently it's because I've been accidentally using a *different* ECC thing from SMT or something, and it has these parameters instead:```---- Elliptic Curve Arithmetic---- About the Curve Itself-- Field Size: 192 bits-- Field Modulus (p): 65533 * 2^176 + 3-- Equation: x^2 + y^2 = 1 + 108 * x^2 * y^2-- Parameters: Edwards Curve with c = 1, and d = 108-- Curve Order (n): 4 * 1569203598118192102418711808268118358122924911136798015831-- Cofactor (h): 4-- Generator Order (q): 1569203598118192102418711808268118358122924911136798015831---- About the Curve's Security-- Current best attack security: 94.822 bits (Pollard's Rho)-- Rho Security: log2(0.884 * sqrt(q)) = 94.822-- Transfer Security? Yes: p ~= q; k > 20-- Field Discriminant Security? Yes: t = 67602300638727286331433024168; s = 2^2; |D| = 5134296629560551493299993292204775496868940529592107064435 > 2^100-- Rigidity? A little, the parameters are somewhat small.-- XZ/YZ Ladder Security? No: Single coordinate ladders are insecure, so they can't be used.-- Small Subgroup Security? Yes: Secret keys are calculated modulo 4q.-- Invalid Curve Security? Yes: Any point to be multiplied is checked beforehand.-- Invalid Curve Twist Security? No: The curve is not protected against single coordinate ladder attacks, so don't use them.-- Completeness? Yes: The curve is an Edwards Curve with non-square d and square a, so the curve is complete.-- Indistinguishability? No: The curve does not support indistinguishability maps.```so I might just have to ship *two* versions to keep compatibility with old signatures.
gollark: > 2. precompilation to lua bytecode and compressionThis was considered, but the furthest I went was having some programs compressed on disk.
gollark: > 1. multiple layers of sandboxing (a "system" layer that implements a few things, a "features" layer that implements most of potatOS's inter-sandboxing API and some features, a "process manager" layer which has inter-process separation and ways for processes to communicate, and a "BIOS" layer that implements features like PotatoBIOS)Seems impractical, although it probably *could* fix a lot of problems

References
  1. "Concrete Invention", Encyclopædia Britannica, Retrieved 21 September 2014.
  2. "Lidy Prati" Archived 21 May 2014 at the Wayback Machine, Juan March Foundation, Retrieved 21 September 2014.
  3. "Lidy Prati Biography", Retrieved 21 September 2014.
  4. "Art & Art MALDONADO Tomás". www.artandartcollection.com. Archived from the original on 16 November 2017. Retrieved 15 November 2017.
  5. Amor, Monica. "Displaced Boundaries: Geometric Abstraction from Pictures to Objects", Academia.edu, Retrieved 21 September 2014.
  6. Cotter, Holland. "Idealism in Spirit in Visions of Modernism, South American Style" The New York Times, Retrieved 17 September 2014.
  7. , Museum of Fine Arts Houston, Retrieved 21 September 2014.
  8. "Germaine Derbecq" Archived 4 March 2016 at the Wayback Machine, MACBA, Retrieved 22 September 2014.
  9. "The Collection: Lidy Prati (Argentine, 1921-2008)", The Museum of Modern Art, Retrieved 21 September 2014.
  10. "Collection: Geometric Abstraction" Archived 11 October 2014 at the Wayback Machine, CIFO, Retrieved 21 September 2014.
  11. "Lidy Prati 1921-2008", Museo de Arte Latinoamericano de Buenos Aires, Retrieved 21 September 2014.

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