Translations:Sofía Urrutia Holguín/5/en

In the 1940s, Sofía Urrutia started working very actively responding to the calls for the most important national group exhibitions at that time. In October 1948, she was one of the 26 participants of the Contemporary Painting Exhibition at the National Museum of Colombia, one of the two events that the institution organized between 1946 and 1950, in addition to the Annual Artists Show. In doing so, Urrutia earned a place among the “Generation of the 1950s,” and from then on was considered an exponent of naive art In 1959, as a result of her outstanding work, the Austrian critic Walter Engel acknowledged her special place as part of a group of female Colombian painters, together with Judith Márquez, Lucy Tejada and Cecilia Porras. In the early 1970s, Urrutia also had the support of the Argentinian critic Marta Traba, who dedicated one of her columns in the La Nueva Prensa newspaper to the artist in 1963 and described her work as “a spring that never runs dry”.