The matte painting technique was known in Argentine as “pintura completiva”. It is very difficult to establish when or who started to use the matte and glass painting techniques in Argentine. For what I know, it was used very often during the 40´S .
The first name associated to matte painting photography working in Argentine was Oren “Bob” Roberts. Born in California U.S.A, brother of Irmin Roberts, he started to work at Paramount Studios around 1921 as FX cinematographer. He moved to Buenos Aires around 1935 and remained there for the rest of his career until middle 50´S.
Another pioneer was Ralph Pappier born at 1914, Shanghai, China. At 1936 he moved to Bueno Aires, where he developed a career as art director and director. Making use of his artistic skills, he was responsible for the special effects at most of his films. He used very often glass painting shots on films like: Madame Bovary (1947) or La guerra Gaucha (1942)
Working very often with Pappier was cinematographer Americo Hoss. Born at 1914 in Budapest, Hungary, was a prolific cinematographer. He moved to Argentine around 1935, started his career at San Miguel Studios in Buenos Aires where he worked as special effects cinematographer, specially collaborating with Ralph Pappier and art director Gori Muñoz.
1942 – La guerra Gaucha
1943 – Cuando florezca el naranjo
1944 - Cuando la primavera se equivoca
1944 – Su mejor alumno
1947 - Lucrecia Borgia
Uncredited matte paintings from “La casta Susana” (1944)
For the film “La dama duende” (1945) they used a matte painting or a foreground miniature to complete the set with a ceiling. My guess is the second option.
Two uncredited matte paintings for ” Allá en el setenta y tantos” (1945)
Uncredited matte painting for “El hermoso Brumell” (1951) art director Gori Muñoz and cinematography by Americo Hoss.