Florencio Molina Campos
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ScribdTranslationsFlorencio Molina Campos
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ScribdTranslationsFlorencio Molina Campos
His full name was Florencio de los Ángeles Molina Campos. He was the son of Florencio.
Molina Salas and Josefina del Corazón de Jesús Campos. She belonged to a family
traditional from Buenos Aires.
His family owned several fields, and Florencio alternated his life between trips to the field and
the city.
On July 31, 1920, he married María Hortensia Palacios Avellaneda; to
The following year, his first and only daughter was born on June 11, 1921, named Hortensia.
he who was nicknamed 'Pelusa' The marriage failed, and some time later they separated from
Hortensia Palacios Avellaneda, retaining custody of the daughter.
he was an Argentine draftsman and painter, known for his typical costumbrist drawings of the
pampa and from its country.
In 1930, he published the series Criollo Flintstones in the newspaper La Razón. On March 14, 1930,
Alpargatas S. A. accepts the preparation of the almanac for the year 1931, which consisted of twelve works.
gauchesque works executed in gouache with an idealized and customary vision, which have
international dissemination.
In 1937, after receiving a scholarship from the National Culture Commission, he travels to the United States.
United. There, he marries María Elvira Ponce Aguirre in a second marriage on the 21st of
December marries with the backing of U.S. law.
In 1942, and until the mid-fifties, he was hired as a technical advisor for the
Walt Disney Studios to collaborate on the shoots of The Flying Gaucho, Goofy does
gaucho, greetings, friends, The laughing gaucho and The three friends. He collaborated in the making of the
animated film Bambi, from 1942
Molina Campos with Walt
Disney
In 1946, he published Vida gaucha, a textbook for Spanish students in the United States.
In 1950, he won the Clarín Prize, Gold Medal of the V Salon of Argentine Illustrators.
In 1956, he acted in the short film Pampa mansa, which was presented at the Berlin Festival.
where it was present.
His drawings and paintings recall, with a humorous touch, typical gaucho cartoons.
well remembered for its classic calendars from the Alpargatas S. A. I. C. factory, where under the
supervision of the plant engineer, his great friend Luis Pastorino, managed to achieve the most
attractive images of the era.
With an endearing caricatured air, and often naïve—although with exaggerations and
chromatic elements that also connect it with a not at all naive expressionism—, its drawing,