Tra tutti i dipinti di Grete Stern, Sogno n° 7, Buenos Aires (Dream n° 7, Buenos Aires) è il più famoso; è esposto al Museum Folkwang, a Essen. Tra le 2 opere di Grete Stern presenti nel nostro catalogo, queste 2 sono le più celebri, ognuna accompagnata dalla sua data, dal suo museo e dalla sua storia.
Classificata in base al nostro punteggio di popolarità, che combina ricerche, visite e ordini per ogni opera. Aggiornato Ottobre 2026.
L'opera è intitolata Sogno n° 7, Buenos Aires (Dream n° 7, Buenos Aires) ed è stata realizzata dall'artista Grete Stern Coppola intorno al 1949. Questo pezzo si presenta come una stampa all'gelatina d'argento, un'immagine che fa parte di un corpus artistico più ampio noto come la serie Sueños. Tale ciclo creativo fu concepito appositamente per la rivista femminile Idilio.
Sogno N° 28, Buenos Aires, noto anche con il titolo Sogno No. 28: Amor sin ilusión (Sogno n. 28: Amore senza illusioni), è una fotografia creata da Grete Stern Coppola. Quest'opera, realizzata nel 1951, fa parte della celebre serie Sueños, una collezione di fotomontaggi che l'artista ha sviluppato con profonda intensità espressiva.
I quattro soggetti che compaiono più spesso su queste tele, ognuno con il suo esempio più amato.
Il museo che custodisce la maggior parte dei dipinti presenti in questa pagina.
| Musei | Città | Opere di Grete Stern | Dipinti di questo elenco |
|---|---|---|---|
 Museum Folkwang |
Essen | 2 | Sogno n° 7, Buenos Aires (Dream n° 7, Buenos Aires), Sogno N° 28, Buenos Aires |
Sogno n° 7, Buenos Aires (Dream n° 7, Buenos Aires)
Nel nostro catalogo sono presenti 2 opere di Grete Stern.
Principalmente in Museum Folkwang (Essen); l'elenco sopra riporta ogni museo e le sue tele.
Donna (2) e Bianco e nero (2), tra le 2 opere in questa pagina.
Stampa all'argento gelatina, utilizzato in 2 delle 2 opere in questa pagina.
Il Museum Folkwang, Essen custodisce 2 delle opere presenti in questa pagina, tra cui Sogno n° 7, Buenos Aires (Dream n° 7, Buenos Aires) e Sogno N° 28, Buenos Aires.
Born in Berlin in 1904, Grete Stern Coppola’s life was a testament to artistic resilience and a profound contribution to the modernization of visual arts in Argentina. Her journey, marked by both intellectual rigor and a deep engagement with the human experience, established her as a pivotal figure in shaping Argentine photography during the first half of the 20th century. From her early studies at the Bauhaus – an institution renowned for its innovative approach to art and design – to her groundbreaking work alongside her husband, Horacio Coppola, Stern’s career was defined by a commitment to experimentation and a desire to push the boundaries of photographic expression.
Stern's initial artistic training at the Bauhaus instilled in her a foundational understanding of geometric principles, formal composition, and the potential of photography as a tool for exploring abstract concepts. This influence is evident in her early work, characterized by a meticulous attention to detail and a deliberate use of light and shadow. However, it was her relocation to Buenos Aires in 1935 that truly ignited her creative spirit. There, she and Coppola established “ringl+pit,” a studio that quickly gained recognition for its innovative approach to advertising photography and design. This venture wasn’t merely a commercial endeavor; it served as a crucial platform for introducing European modernist photographic techniques to the Argentine market.
A defining moment in Stern's career arrived in 1948 with her collaboration on the magazine *Idilio*, a popular publication aimed at middle-class women. For this outlet, she created the series “Sueños” (Dreams), a collection of surreal photomontages inspired by the dreams submitted by readers. These images—a captivating blend of reality and fantasy—became Stern’s most enduring legacy. Each montage depicted a dreamscape, often imbued with symbolic meaning and subtly critiquing the social norms and expectations prevalent in Argentine society at the time. The “Sueños” series demonstrated Stern's ability to transform personal narratives into powerful visual statements, earning her comparisons to the visionary works of Francisco Goya.
The "Sueños" project is particularly significant because it reveals a layer of social commentary beneath the surface of seemingly whimsical dream imagery. Stern’s interpretations frequently challenged the traditional roles assigned to women in Argentine society, subtly questioning the limitations imposed by the prevailing patriarchal structures. The series became a poignant reflection of the era's anxieties and aspirations, capturing both the hopes and frustrations of a nation undergoing significant social and political change. It is important to note that Stern’s work was not simply decorative; it carried a critical voice, offering a unique perspective on the lived experiences of Argentine women.
Beyond her contributions to *Idilio*, Stern continued to explore diverse photographic subjects throughout her career, including documentary photography focused on indigenous cultures in the Gran Chaco region. This later work showcased her commitment to documenting and preserving the traditions of marginalized communities. Her influence extended beyond her own artistic practice; she also played a vital role in educating future generations of photographers, serving as an instructor at the University of the Northeast in Resistencia. Grete Stern Coppola’s legacy endures not only through her remarkable body of work but also through her pioneering spirit and her unwavering dedication to pushing the boundaries of photographic art.
Grete Stern Coppola’s contribution to Argentine photography is profound. She was instrumental in introducing European modernist techniques to Argentina, fostering a vibrant and experimental photographic scene. Her “Sueños” series stands as a powerful example of how photography can be used to explore complex social issues and challenge conventional norms. Her work continues to resonate today, reminding us of the enduring power of art to provoke thought and inspire change.
