Julio Herrera y Reissig, (born August 1, 1875, Montevideo, Uruguay—died March 18, 1910, Montevideo), Uruguayan poet who was one of the most original poets writing in Spanish in the early 20th century. His poetry, extremely controversial in its own time for its innovations in form and language, was widely imitated, and it strongly influenced the development of contemporary Spanish American poetry.
Born into a well-to-do family, Herrera rejected the bourgeois materialism around him. Leading a consciously bohemian life in Montevideo, he was soon joined by a group of young poets whose aim was to provoke literary controversy by deliberately violating the traditional principles of poetic composition, attempting to shock with bizarre themes and idiosyncratic language.
Herrera’s talent soon eclipsed that of his friends. Los maitines de la noche (1902; “The Matins of the Night”) and Poemas violetas (1906; “Violet Poems”), among other volumes, were recognized by critics for their vividly imaginative evocation of commonplace scenes of everyday life as well as for their innovative use of language. Although he often used deliberately ludicrous titles, such as Pianos crepusculares (1910; “Twilight Pianos”), Herrera frequently depicted the ordinary. He had great control of technique, mastering traditional forms and creating new ones. This mastery of form was not obscured by his desire to shock.
Herrera succeeded during his short lifetime, which was marred by chronic ill health, in challenging long-held assumptions about the proper subject matter for poetry and the accepted methods of poetic expression. Not until after his death, however, did he achieve widespread recognition as a major poet.