Coinciding with Women's Month, the National Museum of Fine Arts will carry out the exhibition "The accidental canon. Women artists in Argentina (1890-1950)”, more than 80 pieces.

From the 25 of March, "The accidental canon" can be visited in the rooms 37, 38, 39 Y 40 the first floor of the Museum, with free admission and advance reservation of shifts through the website: www.bellasartes.gob.ar.

The exhibition pays tribute to 44 outstanding artists with the slogan of questioning the stories established in the history of art in our country and recovering the figure of these creators, many of them ignored or unknown.

This exhibition is curated by researcher Georgina Gluzman and offers the public the possibility of appreciating works from the collection of Fine Arts, provincial and municipal museums and private collections.

It is an unpublished sample in the history of the traditional Buenos Aires enclosure and that has paintings, drawings, engravings, photographs and sculptures by artists who, in some cases, will be exhibited for the first time.

“Considered rare, crazy, eccentric or, at most, idle women devoted to a mere hobby, Argentine artists have generally suffered from concealment and invisibility not only from their contemporaries, but from the history of art itself ", affirms the director of the Museum, Andrés Duprat.

"The exhibition includes, on the one hand, works of artists with a presence on the margins of art history and, on the other hand, artists' pieces today practically unknown, but whose activity earned them the admiration of their contemporaries ", explica Gluzman. "All of them went from being in the center of artistic activity to being, in the best case, mere footnotes to stories in the history of art ", adds the curator.

"The accidental canon" is organized in three nuclei. "In the center of genres" will present a series of portraits, nudes and still lifes created from the end of the 19th century by María Obligado, Eugenia Belin Sarmiento, Julia Wernicke, Ana Weiss, Hortensia Berdier and Sofía Posadas, among other. The second core, "In the center of consecration", refers to the changes arising from 1911, year of the first National Salon, and in the two decades after. It was then that a group of women - like Lía Correa Morales, Emilia Bertolé, Léonie Matthis, Paulina Blinder, Leonor Terry and María Washington– achieved an unusual level of visibility and recognition.

The third core, "In the center of new directions", gives an account of the history of the artists from the decade of 1930, when they began to address female representation in renovating nudes and modern portraits that contributed to the visual formulation of the new woman. This set will include pieces by Raquel Forner, Mariette Lydis, Annemarie Heinrich, Consuelo González, Cecilia Marcovich, Laura Mulhall Girondo, Carlota Stein and Gertrudis Chale, among other.