The period between 1931 and 1940 marked an important chapter in the life of Alicia Penalba (1913–1982), the Argentine artist who would later become internationally recognised for her powerful abstract sculptures. During these years, she gradually developed her artistic identity, explored different forms of visual expression and began establishing herself within Argentina's artistic community. Although her later reputation would be closely associated with abstract sculpture, her early artistic development was rooted primarily in drawing and painting.

Having sought independence from her family during her teenage years, Penalba was determined to build a life in which she could make her own decisions and pursue her creative ambitions. Buenos Aires offered opportunities that were difficult to find in the smaller provincial cities where she had spent her childhood. The Argentine capital was also an important centre of cultural activity, with art schools, galleries, exhibitions and intellectual circles providing an environment in which young artists could develop their skills.

The first years of the 1930s were part of this transition. Although detailed records of her activities between 1931 and 1933 are limited, these years belong to the formative period preceding her documented participation in formal art education and exhibitions. Her determination to become an independent artist remained an important driving force throughout this time.

Studying at the Ernesto de la Cárcova School of Fine Arts (1934)

In 1934, Alicia Penalba began studying at the Escuela Superior de Bellas Artes Ernesto de la Cárcova in Buenos Aires. This institution offered her an opportunity to develop her artistic abilities through a more structured academic education.

She regularly attended the painting studio and studied aesthetics, expanding her understanding of artistic composition, visual expression and the relationship between artistic technique and ideas. These subjects provided an important foundation for her development as a painter and helped her become more familiar with the artistic traditions of her time.

However, balancing her studies with her professional responsibilities proved difficult. Her employment required considerable time, leaving her with insufficient opportunity to continue attending classes regularly. By the end of 1934, she had therefore decided to interrupt her formal education.

Although this interruption was a setback, it did not mean that she abandoned her artistic ambitions. On the contrary, Penalba continued to remain active in the artistic environment and sought opportunities to present her work publicly.

Alicia Penalba's First Art Exhibition in Rosario (1935)

In 1935, Penalba participated in the XIV Salón de Otoño in Rosario, an important opportunity for her to present her work within Argentina's exhibition circuit.

Participation in an established art salon represented a significant step for a young artist who was still developing her professional identity. It allowed her work to be seen alongside that of other contemporary artists and introduced her to a wider artistic audience.

This exhibition also demonstrated that her decision to interrupt her formal studies had not weakened her commitment to painting. She continued to explore her artistic interests independently, gaining experience through participation in exhibitions rather than relying exclusively on academic instruction.

During this period, painting remained her principal artistic medium. Her later transformation into an internationally recognised sculptor was still many years away, but these early experiences provided valuable foundations for the visual language she would eventually develop.

Artistic Recognition and the 1937 Exhibition in Buenos Aires

By 1937, Alicia Penalba had become increasingly involved in Argentina's contemporary art scene. That year, she participated in the IV Salón de Otoño organised by the Sociedad Argentina de Artistas Plásticos at the Amigos del Arte exhibition space in Buenos Aires.

For this exhibition, she presented a painting entitled Lía. Interestingly, the exhibition catalogue listed her under the name Alicia Pérez Penalba, reflecting the full family name she used at that stage of her career.

The exhibition was another important moment in her development as a painter. It placed her work within the artistic discussions taking place in Buenos Aires and allowed her to participate in a cultural environment that brought together established and emerging artists.

Her participation in these exhibitions illustrates her determination to continue developing professionally despite the interruption of her formal education. Rather than allowing financial and personal circumstances to prevent her from pursuing art, she continued to seek opportunities to exhibit her work and establish her artistic presence.

Alicia Penalba's Marriage to Carlos Alonso (1937–1939)

Alongside her artistic activities, Penalba also experienced important changes in her personal life.

In 1937, she married a man named Carlos Alonso in Montevideo, Uruguay. Relatively little historical information survives about him or their relationship. The marriage, however, was short-lived, and the couple divorced approximately two years later, in 1939.

Although this period brought significant personal changes, Penalba continued to maintain her connection with the artistic world. Her experiences during these years formed part of a broader period of personal and professional development in which she was gradually establishing her independence.

Her personal life would continue to evolve, and another important relationship would soon influence the next stage of her journey.

Meeting Amadeo Binci and a New Chapter in Her Life (1939)

In 1939, Alicia Penalba met Amadeo Binci, a visual artist who worked as an illustrator for various publications. Their shared involvement in the visual arts created a connection based on common professional interests and creative activities.

Illustration provided an important source of income for Binci and would also become a means of financial support for Penalba. Working within the world of publications offered opportunities to apply artistic skills in a practical context while maintaining a connection with creative work.

This relationship marked the beginning of a new personal chapter. Unlike her previous marriage, her relationship with Binci developed within an environment in which both individuals were connected to artistic professions.

Their shared circumstances would soon lead to marriage and a new domestic life in Buenos Aires.

Marriage to Amadeo Binci and Life in Buenos Aires (1940)

On 24 February 1940, Alicia Penalba married Amadeo Binci. The couple established their home in an apartment at 852 Chacabuco Street in Buenos Aires, where they lived together until Penalba eventually left Argentina for Paris.

The beginning of the 1940s therefore represented a period of relative stability in her personal life. Her marriage to Binci brought her together with someone who also understood the practical and creative challenges of working in the visual arts.

Nevertheless, Penalba's artistic ambitions continued to extend beyond her immediate circumstances. Although she was still primarily working within painting and had not yet discovered the abstract sculptural language that would define her international career, her earlier experiences had already provided her with a strong artistic foundation.

Her participation in exhibitions during the 1930s, her exposure to academic art education and her determination to maintain an independent creative identity all contributed to her continuing development.

The Importance of 1931–1940 in Alicia Penalba's Artistic Career

The decade between 1931 and 1940 was an important formative period in Alicia Penalba's biography. It was characterised by artistic experimentation, early public recognition, interrupted academic studies and significant personal changes.

Her participation in the XIV Salón de Otoño in Rosario in 1935 and the IV Salón de Otoño in Buenos Aires in 1937 demonstrated her growing involvement in Argentina's artistic community. Her painting Lía also provides an important reference point in understanding her early artistic production.

At the same time, her marriages to Carlos Alonso and Amadeo Binci reflected the personal transformations taking place alongside her artistic development.

Although Penalba had not yet become the abstract sculptor recognised by museums and collectors around the world, the experiences of this decade helped prepare the ground for her future achievements.

The following years would bring an even more decisive transformation. In 1944, she would return to her formal artistic education, and in 1948, a French government scholarship would give her the opportunity to move to Paris. There, she would gradually turn away from painting and discover sculpture as her principal artistic medium, ultimately becoming one of the significant figures of twentieth-century abstract sculpture.