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Artistic production did not truly come into its own, until after the 1852 overthrow of the repressive regime of Juan Manuel de Rosas.Immigrants like Eduardo Schiaffino, Eduardo Sívori, Reynaldo Giudici, Emilio Caraffa, and Ernesto de la Cárcova left behind a realist heritage influential to this day.Argentina has a detailed literary history, as well as one of the region's most active publishing industries.Argentine writers have figured prominently in Latin American literature, since becoming a fully united entity in the 1850s, with a strong constitution and a defined nation-building plan.Argentine literature of that period was fiercely nationalist.It was followed by the modernist movement, which emerged in France in the late 19th century, and this period in turn was followed by vanguardism, with Ricardo Güiraldes as an important reference.Argentine writer Ernesto Sabato has reflected on the nature of the culture of Argentina as follows: With the primitive Hispanic American reality fractured in La Plata Basin due to immigration, its inhabitants have come to be somewhat dual with all the dangers but also with all the advantages of that condition: because of our European roots, we deeply link the nation with the enduring values of the Old World; because of our condition of Americans we link ourselves to the rest of the continent, through the folklore of the interior and the old Castilian that unifies us, feeling somehow the vocation of the Patria Grande San Martín and Bolívar once imagined.The spoken languages of Argentina number at least 40, although Spanish is dominant.
It is classified as a Quechua II language, and is referred to as Quechua IIC by linguists.
Though most preferred French and Italian sculptors, work by locals Erminio Blotta, Ángel María de Rosa, and Rogelio Yrurtia resulted in a proliferation of soulful monuments and memorials made them immortal.
Not as realist as the work of some of his belle-époque predecessors in sculpture, Yrurtia's subtle impressionism inspired Argentine students like Antonio Pujía, whose internationally prized female torsos always surprise admirers with their whimsical and surreal touches, while Pablo Curatella Manes' sculptures drew from cubism.
Impressionism did not make itself evident among Argentine artists until after 1900, however, and never acquired the kind of following it did in Europe, though it did inspire influential Argentine post-impressionists such as Martín Malharro, Ramón Silva, Cleto Ciocchini, Fernando Fader, Pío Collivadino, Cesáreo Bernaldo de Quirós, Realism, and aestheticism continued to set the agenda in Argentine painting and sculpture, noteworthy during this era for the sudden fame of sculptor Lola Mora, a student of Auguste Rodin's.
As Lola Mora had been until she fell out of favor with local high society, monumental sculptors became in very high demand after 1900, particularly by municipal governments and wealthy families, who competed with each other in boasting the most evocative mausolea for their dearly departed.