Car Rentals Argentina

Discount Car Rentals in Argentina

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Things to do in Argentina

• Museo Nacional de Bellas Artes
  The National Museum of Fine Arts (MNBA) is located in the city of Buenos Aires, Argentina and was started in 1895; getting a million visitors each year. Eduardo Schiaffino became the first director of the museum, who himself was a talented painter and art critic, when it opened in 1895 on Florida Street, and today is the site of the Galerias Pacifico shopping mall. During 1909, the museum was moved into a building on Plaza San Martin, which had been built in Paris for the Argentine Pavilion in the 1889 Paris Exhibition; then taken apart, piece by piece and sent to Buenos Aires, where it would be put back together. The museum's home became a part of the International Centenary Exhibition that was held in the city in 1910, and after it was demolished in 1932, as part of their renovating the plaza, the museum was then moved to its present location in 1933; into a building that had been built in 1870 as a drainage pumping station and then later remodeled by architect Alejandro Bustillo. In the period from 1955 to 1964, then director Jorge Romero Brest would have the entire structure modernized, in its building and the collection, with a temporary pavilion being opened in 1961 and the museum acquiring a huge collection of modern art by its collaboration with the Torcuato di Tella Institute, that was one of the leading promoters of local and avant-garde artists; and a contemporary Argentine art pavilion opening in 1980. This gallery is 16,500 square feet, and the biggest of the 34 galleries that are used by the museum; bringing their total footage to 49,600 square feet of space containing 688 works of art in its permanent collection, as well as more than 12,000 potteries, fragments and sketches plus other minor works. The museum houses a special library that contains 150,000 volumes and a public auditorium. The museum commissioned Mario Roberto Alvarez to design a branch located in the Patagonian region of Neuquén that was opened in 2004, with four galleries that hold 27,000 square feet of space, and a permanent collection of 215 works of art, a public auditorium and temporary displays.  The main floor of the museum holds 24 display galleries, that contain a magnificent collection of paintings from the Middle Ages to the 20th century, as well as the related library. The next floor has a marvelous collection of paintings by some of the best and most prominent Argentinean artists of the 20th century, that include; Ernesto de la Carcove, Eduardo Sivori, Alfredo Guttero, Antonio Berni, Benito Quinquela Martin, Racquel Forner, Lino Enea Spilimbergo and Xul Solar. The second floor was finished in 1984, and has a wonderful exhibition of two sculpture terraces and one of photographs, and the administrative and technical departments.  Other works from more well known artists include; William-Adolphe Bougerau, Edgar Degas, Claude Monet, Wassily Kandinsky, Paul Gaugin, Vincent van Gogh, Auguste Rodin and Jan Bruegal the Elder.

• Palacio Barolo
  The Palacio Barolo is a unique 22 story office building in Buenos Aires, Argentina, designed by Italian architect Mario Palanti, and commissioned by empresario Luis Barolo, an Italian immigrant that came to the country in 1890, and made his fortune in knitted fabrics. The original design was eclectic and also copied in the Palacio Salvo in Montevideo, Uruguay. The structure was designed based on the cosmology of Dante's Divine Comedy, considering the architect was a great admirer of Alighieri. The building has 22 floors, separated into three different area, with the basement and ground floor representing hell, the first through the 14th floors represent purgatory and the 15th through the 22nd are for heaven. It is 328 feet tall, or 100 meters, that represent one meter for every canto of the comedy. The lighthouse that sits on the top can be seen as far away as Montevideo, Uruguay, with the original idea of using the first three floors for himself, and renting out the remainder. It was finished in 1923, and became the tallest building in all South America, and stayed the tallest until 1935, when the Kavanagh Building became the highest. It was declared a national historic monument in 1997, and is presently used for law offices, a Spanish language school, and Tango boutique and theater in the basement. Barolo was the first merchant to import cotton spinning machines into the country, and he concentrated on importing textiles. He was the first businessman to install combed wool spinning equipment and began the cultivation of cotton in the province of Chaco.  Barolo was a European that believed the continent of Europe would slowly degrade into a mass of warring factions that would destroy much of Europe and the magnificent art of the region through these wars. He came to Argentina, as did many, believing that his new home was going to be the best place for him to watch this future destruction occur. Since one of his favorite artists was the Italian poet Dante, he hoped to save some of his ideas in the building that he would have built. Palanti was also a student of the comedy, and filled the structure with many references to the comedy. There are nine access areas in the building that represent the nine circles and nine hierarchies of hell, with the lighthouse representing the nine angelic choirs. On top of the lighthouse, there is a southern cross constellation, that is aligned with the axis of the building during the first days of June, the height measuring 100 meters for the 100 cantos, and 22 floors the same amount of stanzas in the epic. There are many Latin references in the building, which was also opened on the poet's anniversary. The central hall houses nine arches representing the nine circles of hell; with Latin inscriptions on the arches. Some refer to Virgil, and other to Biblical scriptures. There are many others that can be seen and enjoyed when you visit the city and the marvelous building. 

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Local Restaurants in Argentina

Cabana Las Lilas Menu includes; Appetizers; Iberian Jamon Leg negra Spanish, caprese salad, cold salad of salmon, carpaccio de carne, grilled provolone cheese, veal rolls, carpaccio of portobello mushrooms, grilled provolone goat's cheese. Meat sides; garlic sausage, blood sausage, BBQ sausage, calf veal kidneys, veal entrails, Corazon sweet bread, Provencal sweet bread. Salads; green salad, mixed salad, healthy salad, the Lilas house special salad, grilled eggplants, goat cheese, rucula, croutons with tomatoes, secos grilled goat; cheese, rocket, dried tomatoes with croutons; boconccini, olives, rucula, confitadas onions, basil, tomatoes; branches of rocket, onion confit, basil and tomatoes; tropical salad. Entrees; rib eye steak; baby beef; rib steak club; rumpsteak garlic sausage; t-bone steak; tenderloin medallions; cap of rump; tail of rump; tenderloin brochette; flank steak; tenderized flank steak; strip steak; summus rumpsteak; grilled chicken; pork tenderloin; pork rose meat; lamb chops. Fish entrees; black jewfish; salmon with mushrooms; sole with capers; grouper with Mediterranean veggies; prawns with potato risoles; Patagonic spider crab; fish of the day with cherry tomatoes.

• El Zanjon
  In the historic San Telmo district of Buenos Aires, Argentina, there is a spectacular 1830 house that was restorated to its original condition and during the renovations, an underground labyrinth of wide and vaulted brick tunnels were discovered that have been sealed off for centuries. Believed to belong the first settlement in Buenos Aires in 1536, El Zanjon, or the Rivulet allows visitors to go back in time, to that glorious period when the country was first settled. Many historians and archaeologists believe these hidden tunnels of El Zanjon de Granados ravines were the site of the first settlement of the city, although they have never been found, although here is the statement of Ulrich Schmidl, the initial historian of the river plate and companion of the founder of the city, Don Pedro de Mendoza. Part of that old Zanjon was discovered under this historical 19th century structure, which extends beneath the entire length of the town square. There were numerous discoveries of the former Zanjon, where the ruins of old foundations, water wells, old walls, sewage pits, floors and other remnants were constructed and destroyed between 1730 and 1865. The Buenos Aires Heritage Guide that is edited by the city council, states that the site is one of the most significant archaeological dig in the city. The structure was a mansion, and then converted into a tenement house by the early 20th century, and by 1985, had been walled off, with the ground floor full of debris. With the renovation finished, elaborate glass and steel elevators carry the visitors to the lighted tunnels of El Zanjon.

• Museo Evita
  Fifty years to the day after the death of Eva Peron, her grandniece, Cristina Alvarez opened the Evita Museum in Buenos Aires, Argentina, July 26, 2002, a political icon that spanned two different centuries is housed in a magnificent mansion that was built for the Carabassa family in the early part of the 20th century. The structure was designed by architect Estanislao Pirovano, and is a combination of styles, platersque and Italian renaissance, which became a national historical monument in 1999. During 1948, the Eva Peron Foundation purchased the old mansion so that it could be transformed into the Hogar de Transito, or temporary home shelter number 2 for the women and children of the city that didn't have any resources. In July 18, 1948, Evita inaugurated the El Hogar using these words, "the temporary home shelters those in need and those who have no home...for as long as necessary until work and a home can be found..". Eva offered the women and children an open door, with a place for them to sit at a table and eat with others, and a clean bed. There is also motivation and consolation, faith and self-confidence, as well as encouragement and hope. This building echoed with the sounds of Eva and the happy voices of women and children that took refuge here, and now the museum of that famous woman, a living museum, is situated here, so that the people of this country and those visiting can learn about her, know, appreciate and understand this most important woman in the history of the country. Felix Luna, wrote in his book, El 45, how it was in the city in 1945, without streetlights, televisions or radios, but many platform shoes, long dresses and trolleys. Luna said the country was made up of dusty roads, without, traffic, tourism or auto industry. Tucuman remained the "garden of the republic", and San Juan was just getting over an earthquake that brought Eva Duarte and Peron together. Eva was living in Buenos Aires, knew about Quinquela Martin, the working class painter from the Italian neighborhood of La Boca and the hit song, "J'attendrai". But she also saw the sights that writers, singers or painters didn't see, the children begging on the streets, that lived in the orphanages that was operated by the 87 wealthy old ladies of the Society of Beneficence. These desolate children would be identified by their shaven heads, and numbers instead of names, with tin bowls or signs saying they were collecting for the poor children; themselves. Eva had learned first hand what it was like to be poor and without work, having visited postwar Europe in 1947, so she knew what was needed and what wasn't by her experience there. She would first listen to the pope, John XXIII, as he gave her advice; "do not burden yourself with the official paperwork but preserve the flexibility of a non-bureaucratic organization," and since he discerned the caliber of her soul, "devote yourself without limits". And then finally, almost prophetically, he told her, "remember that the way of service to the poor always ends in the cross." Secondly she would gain knowledge in Europe so that her endeavors would not be spiritually poor, or spartan in the words of the bureaucrats. Eva's schools, hospitals, cities, villages for seniors, homes for the working women and their children should be constructed with the idea of helping and respecting people as individuals rather than accommodating numbers. In the children's city, uniforms were outlawed, and new clothes and toys were acquired from the best shops in the city, and if you should see these children in their homes that were constructed by Eva' foundation, you would see them all wearing different outfits, unless they had on the smocks that all schoolchildren wore to keep their own clothes clean. The controversy that surrounds Eva Peron shall continue throughout history, like the dark cloud that hangs over the events of Dallas in 1964, and many may gleam some idea of what she was really like by the books or movies made about her, but it is her legacy, as well as the many people that loved her and still do that make up what Eva Peron really was. Her museum and library should shed some truthful light on her life and what she did for her country, and most importantly, for her people.

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• Museo de Arte Hispanoamericano Isaac Fernandez Blanco
  The Hispanic American Museum Isaac Frenandez Blanco is found in the city of Buenos Aires, Argentina, housing the marvelous collection of Blanco that is based on the decorative and artistic objects of South America from the first colony to the independent period. In 1910, Isaac lived here with his family, and the first private museum of Argentina, has a nucleus of artworks that he had collected over many decades. Once the museum was established, there were many families that wanted their collections preserved, and showcased in a prestigious environment, so they began to donate their collections to the museum. In 1921, Isaac and his family would move from the mansion so that it could be turned into a museum, and it was donated to the city, and inaugurated in 1922. Isaac would continue to purchase and donate his artworks up to his death in 1928, which was moved in 1947, to the Palacio Noel, increasing the colonial museum collection that was already located there, and dissolving the municipal museum. In 1963, the collections would be increased with the donation of 750 pieces by Celina Gonzalez Garano; and the American colonial art collection was again increased in size by a donation from her brother; Jesuit-Guarani, most of it in 1972, and the remainder after his passing in 1989. The collection would also grow with the purchases of the museum, that could follow the changes of the churches in Europe, which allowed for the majority of these historical artworks being purchased by the museum.  Part of the massive collection includes many silver pieces that were used in churches, homes, jewelry, and other items created by the silversmiths and craftsmen working with metals, as well as the integrated works created by the local Native population that worked with this precious metal for centuries. These works have been incorporated into the collection and spans many centuries of creations. The paintings collection is equally represented since they also were part of the church environment and the portraiture commissioned by the wealthy that came to the country. Works by Joaquin Caravale, Melchor Perez Holguin and Gaspar de Berrio have increased the value of these excellent paintings, as well as the imagery of the collection, that includes over 250 pieces in wood, ivory and alabaster. There are baroque furnishings, religious vestments, textiles, ceramics, coins, jewelry and prints.

• Museo Historico Nacional
  The National Historical Museum sits in the district of San Telmo in Buenos Aires, Argentina, capital of the republic of Argentina. This museum is devoted to the history of the country and showcases objects that are related to the May Revolution and the War of Independence. It was called the Historical Museum of the Capital, and started by mayor Seeber Francisco in 1889. Adolfo Carranza became the first director, in 1891, on an estate that was owned by the national government, with parts of the collections coming from the descendants of those great men of the revolution and the war. The remainder came from the public museum, that was started in 1822, by Bernadino Rivadavia and due to official measures, the collection was forced to be donated. With the addition of these new collections, the nucleus was increased to include other variations of collectibles rather than just those of the nation, so it was renamed the National History Museum. The museum was located in a marvelous country estate, which controls the botanical gardens, and in 1897, the city sold the land and moved the museum into a mansion, leaving the botanical gardens in the hands of the city, with the museum owned still by the government. In 1997, the museum headquarters was made a national historical landmark. Some of the magnificent pieces housed in the collection include the glass of William Carr Beresford and a copy of the sword of San Martin, the flag of Ayohuma, oil paintings by Candido Lopez on the War of Paraguary, El saber of General Belgrano, the oil of Prilidiano Pueyrredon showing Manuelita Rosas, the hat of Mitre, the bedding of Sobremonte and the uniform of Guemes. The majority of the story of the country during the 19th century is housed here, and has been since 1897.

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• Juan Carlos Castagnino Municipal Museum of Art
  The Juan Carlos Castagnino Municipal Museum of Art is the finest art museum in Mar de Plata, Argentina, and is housed in the magnificent and stately villa of the Ortiz Basualdo family of Buenos Aires. The villa was constructed in 1909, and commissioned by the Basualdo family, some of the most wealthy landowners in the country then, who wanted a unique villa on the Mar del Plata's distinguished Stella Maris Hill, for a summer residence. It was designed by Pablo Pater and Luis Dubois, and the art nouveau villa was the newest phase of the French architecture design movement that was sweeping across France and Argentina. The exterior contains a half-timber motif, that was painted on over the building that is primarily stone, and capped b zinc mansard roofing. The oceanfront city would get its first fine arts museum in 1938, when it began in the city's hall, consisting mainly of modern art in successive decades and predominantly the works of the local realist painter and muralist Juan Carlos Catagnino. In 1980, the Basualdo family donated their prestigious villa, and the museum art collection was moved here, to sit or hang amidst the huge collection of furniture that the family had acquired between 1909 and 1918, when the villa received a remodeling. The collection was designed by Belgian architect and cabinetmaker, Gustave Serrurier-Bovy, and has become known as the finest examples of its kind, which was easily incorporated into the exhibits of the museum. The magnificent collection contains almost 600 pieces of photographs, lithographs, sculptures and paintings, as well as other works by such notable Argentinean artist s like Luis Seoane, Antonio Berni, Raul Soldi, Alberto Bruzzone, Prilidiano Pueyrredon and Juan Carlos, which the museum renamed in 1982, and holds 138 of his outstanding works of art. The villa sits across the street from the Mar del Plata Museum of the Sea, and it was made a Cultural Patrimony of the city of Mar del Plata in 1995.

• Cabildo
  The Buenos Aires Cabildo was the public structure that was used to seat the ayuntamiento in colonial times, then the government house of the Viceroyalty of the Rio de la Plata; and now is a museum. The ayuntamiento or cabildo, was the Spanish colonial administrative council that governed a city or town, appointed or elected, but were the heads of all land-owning families and was the legal representative of that municipality. Mayor Manuel de Frias suggested building the cabildo in the area that is now the Plaza de Mayo, in 1608, because the governing body of the city had no formal place to meet. The construction costs were funded by taxes on the port of Buenos Aires and completed in 1610, and the mayor realized that it was too small for their needs and had to expand it. By 1682, the building was in bad disrepair since it wasn't maintained, and a newer cabildo with two stories and 11 arches wide was in consideration. The building of the new cabildo started in 1725, but had to stop in 1728, and then restarted in 1731, but again had to stop since it ran out of money. The tower of the cabildo was finally completed in 1764, and when the May Revolution occurred in 1810, it wasn't yet finished. In 1880, the architect Pedro Benoit lifted the tower by 10 meters and put a dome with glazed tiles on top, instead of the usual red tiles of the colonial period. In 1889, the tower was destroyed to make space available for the Avenida de Mayo avenue and three of the 11 original arches were taken away from the north end of the building. Then again, in 1931, three southern arches were taken away to make way for Julio A. Roca avenue, realigning the center of the structure, although now there were only 5 arches left. Mario Buschiazzo, a local architect, would remodel the colonial features of the cabildo, using the original plans in 1940, and the tower, red tiles, wooden windows, doors and iron bars on the windows would all be replaced with newer ones. Today, the cabildo contains the National Museum of the Cabildo and the May Revolution (Museo Nacional del Cabildo y la Revolucion de Mayo), with clothes, jewelry, paintings, and relics of the 18th century are exhibited, with the patio still retaining its ornamental water well.

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