Biography
FERNANDO
BOTERO
Las pinturas de BOTERO
Donación
Botero
Biography (English
version)
Biografía
Frases
y Citas BOTERO
Born in Medellin, Colombia in 1932, Fernando
Botero moved in 1951 to Bogota, where he had
his first individual exhibition at the Leo Matiz
He
studied in Madrid at the San Fernando Academy
and in Florence, where he learned the fresco
techniques of the Italian masters. In 1956
he taught at the School of Fine Arts of
the University of Bogota and traveled to
Mexico City to study the work of Rivera
and Orozco. In 1957 he exhibited at the
Pan American Union inWashington.
During
the sixties in New York Botero developed
a form of figurative painting integrating
Renaissance and Baroque painting with the
colonial tradition of Latin America.
In
1969 the Inflated Images exhibition at the
Museum of Modern Art in New York established
him as a major painter.
Since
1972 he has had individual exhibitions at
the Marlborough Gallery in New York, Buchholz
Gallery in Munich, and Galerie Claude Bernard
in Paris.
In
1993 Fernando Botero was honored with an
exhibition of his sculpture along the Champs
Elysees, the first non-French artist to
exhibit at this venue. Botero has also been
honored with an individual exhibition at
the Grand Palais in Paris.
(Source:
ArtScene)
-----------------
Fernando Botero is a Colombian painter
and sculptor who is noted for the rotund,
slightly comic figures that began to appear
in his works during the 1960s. His paintings
of this period show the influences of French
painter Paul Gauguin and of early work by
Spanish artist Pablo Picasso.
In
1948, he started work as an illustrator.
In 1950, he went to Europe, where he attended
the Academy of San Fernando in Madrid, copied
Velázquez and Goya in the Prado and
admired the frescoes in Florence He went
to Paris in 1953, studying the old masters
in the Louvre Museum.
He
went on a long visit to Mexico in 1956-57
and the experience of Muralism significantly
influenced his future direction Botero first
visited the United States in 1957, buying
a studio in New York City in 1960. A number
of the works he executed from 1959 to 1961
show the influence of the New York abstract
expressionism movement in their visible
brushwork.
After
this long period of development, the painting
style he is best known for emerged around
1964. It is characterized by inflated, rounded
forms, painted with smooth, almost invisible
brushstrokes, puffing up to an exaggerated
size human figures, natural features, and
objects of all kinds, celebrating the life
within them while mocking their role in
the world. He combined the regional with
the universal, constantly referring to his
native Colombia and also creating elaborate
parodies of works of art from the past -
whether Dürer, Bonnard, Velázquez
or David.
Not
without humour, the symbols of power and
authority everywhere - presidents, soldiers
and churchmen - are targeted in his attacks
on a society still infantile in its behaviour.
The monumental bronze sculptures and distinctive
paintings of Colombian-born artist Fernando
Botero were at the centre of controversy
in 1993. After an extremely popular exhibition
of Botero's sculptures of exaggerated human
and animal forms was mounted in late 1992
on the Champs-Élysées in Paris,
a similar exhibition was held (Sept. 7-Nov.
14, 1993) on prestigious Park Avenue in
New
"Fernando Botero, Colombian painter.
In 1948, he started work as an illustrator.
In 1950, he went to Europe, where he attended
the Academy of San Fernando in Madrid, copied
Velázquez and Goya in the Prado and
admired the frescoes in Florence. He went
on a long visit to Mexico in 1956-57 and
the experience of Muralism significantly
influenced his future direction. In his
own work, he introduced inflated forms,
puffing up to an exaggerated size human
figures, natural features, and objects of
all kinds, celebrating the life within them
while mocking their role in the world. He
combined the regional with the universal,
constantly referring to his native Colombia
and also creating elaborate parodies of
works of art from the past - whether Dürer,
Bonnard, Velázquez or David . Not
without humour, the symbols of power and
authority everywhere - presidents, soldiers
and churchmen - are targeted in his attacks
on a society still infantile in its behaviour."
Humanist / Universalist (*)
Botero: Artist and Art Historian
(1/1)
In
a sense, all great artists are well-informed
art historians. Throughout the history of
Western painting, borrowings and appropriations
have been both subtle and blatant on the
part of major and minor artists from the
Renaissance and beyond. Although the notion
of giving new life to older compositions
has been codified only in the twentieth
century (the greatest proponent of this
trend being Picasso), earlier masters discreetly
built their oeuvres upon a repertory of
visual images and themes developed by past
painters. Fernando Botero has brought the
art of appropriation to new heights in the
later years of this century.
Picasso
systematically mined the fields of art historical
invention, passing from El Greco - through
Velázquez and Poussin to Lucas Cranach
and, finally, Courbet and Manet. Botero
casts his net even wider. We have already
commented above on the significance of his
expressionist recastings, in the late 1950s
and early 1960s, of Leonardo's Mona Lisa.
At virtually the same time, Botero's glance
fell upon more modern artists such as Cézanne
and, in 1963, he painted a large Madame
Cézanne in the Gorden.This work,
in which the gestural brush appears to be
more gentle and controlled than formerly,
is unusual in its insistence upon a dark
palette.The predominant color here is dark
brown, punctuated only by the orange hair
and pink scarf of Madame Cézanne.
Even the flowers themselves, elements which
usually offer the artist the opportunity
to present virtual riots of color, are monochrome
and subdued.
Mantegna
had captured Botero's attention while he
was still a student in Italy. The early
versions, such as the 1958 Homage to Mantegna
I, of the Camera degli Sposi's group portraits
of the Gonzaga family (with pride of place
on the lower level going to the cat and
the female dwarf), offer us an analogous
deadpan revisiting of the somber family
and their entourage; they reappeared in
Botero's oeuvre on other occasions. Italian
artists of the Renaissance and Baroque traditions
have continued to nurture Botero's fantasy.
Botero's
imagination was not captured by the Italian
artists alone. He also penetrated the more
tempered realms of the Northern Renaissance,
Jan Van Eyck's Arnolfini Wedding in the
National Gallery, London, is a virtually
"anti-Botero'' image given its diminutive
size. However, in a work of 1978, Botero
gave the participants in this marriage-consecrating
picture a monumental presence that memorializes
them in a twentieth-century context. In
Peter Paul Rubens, Botero found a perfect
match for his ambitions of immensity. Rubens
- artist of vast historical compositions,
mythological scenes of Hollywood-spectacle
proportions, ambitious hunting parties,
and religious opuses peopled by muscular
saints and voluptuous virgins - must certainly
have been a challenge for Botero, whose
own visions are of considerable volume and
girth. Curiously, it was not on any of the
challenging scenographic spectacles that
Botero fixed his attention, but rather on
the gracious and voluptuous women that Rubens
painted. The various versions of Mrs. Rubens
of the 1960s confront us with a charming
woman in a fancy feathered hat, staring
out at her public with a demurely sensuous
gaze.
Of
all the Renaissance and Baroque artists
who have sparked Botero's interest, none
has been as much of a magnet for his creativity
as Diego Velázquez.The greatest master
of the Spanish Golden Age,Velázquez
has traditionally served as both inspiration
and challenge for artists from Spain and
Latin America (and elsewhere, of course),
Botero came into first-hand contact with
Velázquez's work in Madrid, in 1952
(when he studied at the Royal Academy of
San Fernando).The Prado was naturally the
place to which he gravitated, and Velázquez
and Goya soon became his most important
teachers during that period. As has occurred
in the case of many artists in the past,
Velázquez's greatest achievement,
the 1656 Las Meninas, was the image that
proved to be the biggest challenge to Botero.This
painting is many things, from group portrait,
to the artist's self portrait, to the investigation
of the potential of reflection (with the
use of mirrors) and spacial recession. The
Impressionists admired the Spanish artist's
expertise at suggesting light effects, as
well as the brilliance of his painting of
both cloth and jewels, especially in the
figure of the little princess Margarita,
who is the focal point of the composition.
Curiously, Botero did not pick up the challenge
of the composition as a whole. Instead,
he extracted figures from it, especially
that of the Infanta, and the 1977 "After
Velázquez offers his discreet homage
to this great master painting. In the 1985
Self Portrait as Velázquez, Botero
dresses himself as the Spanish artist, playing,
in a post-modern sense, with realities and
personalities as they are transformed by
an exchange of dress.
Botero
also connected with the humanity and compassion
of Velázquez's paintings, and deeply
admired the latter's series of portraits
of the dwarfs employed by the court of King
Philip IV as both jesters and care-takers
for the royal children.The tradition of
portraying court dwarfs is an old one in
European art, but Velázquez was the
first to paint them with a sense of humanity
and insight into their individuality. It
was this characteristic that drove Botero
to concentrate on these figures in his own
series of paintings, which includes the
1984 Mari Bárbola d'après
Velázquez.
Eighteenth-century
artists such as Élisabeth Vigée-Lebrun
and Hyacinthe Rigaud were also examined
on several occasions by Botero, who even
inserted his own self portrait into a 1973
version of Rigaud's Louis XIV. Of the nineteenth-century
traditions, Botero has looked with intense
scrutiny at Ingres. His interest in the
master of the expressive line and the champion
of a decorous neo-classical reserve is not
surprising, In Botero's 1979 Mademoiselle
Rivière (No. 2) 1805, after Ingres,
the sensuality of the original model is
enhanced in the Colombian artist's exalted
conception of this elegant woman. Reminiscences
(if not direct appropriations) of Edouard
Manet's ground-breaking composition Luncheon
on the Grass (Le Déjeuner sur l'herbe)
are also found in several paintings depicting
picnics by Botero.
Perhaps
Botero's most interesting compositions in
the realm of ''art and art history"
represent the interiors of art galleries.
Pictures such as The Botero Exhibition of
1975 may be read on many levels. On one
hand, these gallery scenes (in which every
work on display is by Botero himself) gently
satirize the act of commercial display of
works of art. In their bringing together
representations of paintings (as well as
the individuals observing them) which, in
real life, are found in disparate collections.
He is reminding us of the Renaissance tradition
of ''picture gallery paintings'' as exemplified
in the eighteenth century by Giovanni Paolo
Pannini. At the same time, in painting his
own gallery pictures, Botero is inserting
himself within the culture of the art world
and art history, declaring his position
as an artist whose work, ''en masse'', is
worthy of contemplation, admiration, and
acquisition.
Life and Work within the Century
by Jean-Marie Tasset
(1/16)
Beware of painting so easily recognized,
of those surprising but rapidly familiar
figures, of the unlikely and peaceful universe
that naive enthusiasts think can be taken
in at a glance. Things are not as simple
as they look. Indeed, nothing is simple
in Botero's work, least of all his play
on appearances.
This
is painting that tends to disconcert, offering
up as it does colors, and obvious or very
simple forms, that are not what we expected.
Often, our gaze turns away from the obvious,
when the obvious is there to throw it into
confusion.
Take
a better look!
This is painting that not only comes from
afar but leads afar, beyond the mirror;
an art born of patience and passion, of
a long journey through time and space, across
an imaginary world peopled with glorious
ghosts of the past, and enriched by myriad
encounters. A world that mixes pell-mell
the artist's strong memories of his youth
in Latin America, the still vivid traces
of Pre-Colombian art, his discovery of modern
European art and his deeply moving encounter
with the Italian Renaissance Masters, followed
by the shock of the New York avant-gardism
of the sixties and America's teeming artistic
milieu. Painting, then, that is the fruit
of a lifetime devoted entirely to being
a painter, to developing a singular oeuvre
rooted in reality, but haunted by a masterfully
reined spirit of the bizarre. Painting that
ranks among today's very best.
In
the words of Marc Fumaroli : "Through
the cunning magic of his brush, dwarfs become
giants, cats become tigers, girls become
whales. But the giants have dwarfs' heads,
the tigers have cats' paws, and the whales
the lips of little girls. A universe of
the unlikely, that comes across so clearly
and faithfully in rhetoric, in fables and
tales, in short, in childhood."(1)
Nowadays,
to represent something commonly means to
furnish the visible aspect of it. To Botero,
on the contrary, it means to diverge from
an object's aspect, to describe a detour
around it beyond similarity and designation;
that is, to enter into the paradoxical realm
of ambiguity and dissimilarity. Botero's
painting targets presence more than representation;
it is intended to advance towards the eye,
which it seeks to perturb, to move.
Fernando
Botero was born 'into a family of modest
means in Medelín, in the department
of Antioquia, Colombia, on 19 April 1932.
His father a travelling salesman, crisscrossed
the region's rugged paths on donkeyback;
he would die of a sudden heart attack when
Fernando was aged only two. This would leave
the son with a faceless absence, a far-off
image of sadness and bereavement in company
of his mother and two brothers.
Famous
today for its drug dealers, Medelín
of former times was but a provincial little
town hemmed in by the surrounding mountains.
Life here was on the straight and narrow,
in the long shadow of the Church. The young
Fernando attended a secondary school run
by Jesuits, who imposed strict discipline.
Out of boredom, Fernando began drawing a
lot and, in the natural course of events,
then went on to painting. He took great
interest in bullfights which, at the age
of thirteen, became his first source of
artistic inspiration. Soon he turned into
an ardent aficionado, whose enthusiasm would
last a lifetime. Indeed, when famous, he
would spend two years painting almost nothing
but bullfights. At this early age, however,
he was happy to sell his watercolors of
bullfights at five pesos a piece, by the
arena entrance gates.
(1)
La manière de Fernando Botero, presentation
essay for the exhibition at the Claude Bernard
Gallery in 1978, Paris.
Humanist
/ Universalist (*)
by Edward J. Sullivan
(1/3)
The
art of Fernando Botero is widely known,
revered, paraphrased, imitated and copied,
For many, his characteristic rounded, sensuous
forms of the human figure, animals, still
lifes and landscapes represent the most
easily identifiable examples of the modern
art of Latin America. For others, he is
a cultural hero.To travel with Botero in
his native Colombia is to come to realize
that he is often seen less as an artist
and more as a popular cult figure. In his
native Medellín he is mobbed by people
wanting to see him, touch him or have him
sign his name to whatever substance they
happen to be carrying. On the other hand,
Botero's work has been discredited by those
theorists of modern art whose tastes are
dictated more by intellectual fashion than
by the perception of the power of his images.
Botero is undoubtedly one of the most successful
artists in both commercial and popular terms,
and an artist whose paintings deal with
many of the issues that have been at the
heart of the Latin American creative process
in the twentieth century.
An
indispensable figure on many international
art and social scenes on at least three
continents, Botero's 'persona' might be
compared to that of one of the seventeenth
-century artists he so much admires, Peter
Paul Rubens. Rubens represents the epitome
of the standard notions of the "baroque".
His own fleshy, eroticized figures exist
in a world of exuberance and plenitude in
both the realms of the sacred and the profane.
Like Rubens, Botero is an individual whose
intense engagement with the world around
him enriches his perceptions, heightens
his discernment of both the material and
spiritual nature of specific things, places
and people. Also in the manner of Rubens,
Botero celebrates the palpable, quantifiable
tangibilities of earthly existence without
slighting more ethereal values.
Rubens
was a diplomat by both profession and character.
Polished in manner and eloquent in his words,
he moved easily within many realms of Baroque
society in his native Flanders as well as
in Italy, England, France and Spain. Botero
is similarly peripatetic and likewise gifted
in his comprehension of the wide variety
of human values and emotions. He is, in
both his personality and his art, as comfortable
with bullfighters as with presidents, with
nuns as with socialites. His images of this
range of types presents his audiences with
a panoramic view of the noble and the ignoble
of modern society on both sides of the Atlantic,
above as well as below the Equator.
The
term "Botero" has become something
of a generic word. In the popular conception,
a "Botero" is a man or a woman
- or any other animate or inanimate thing
- possessed of large, rounded proportions.
There are "Botero forks" and "Botero
cats" just as there are "Botero
women" or "Botero children".
For many, the concept of "Botero"
represents a celebration of sensuality or
a reveling in voluptuousness. However, through
international exhibitions along some of
the most famous streets of the world's largest
cities, his paintings, drawings and monumental
sculptures have become so well known that
their often complex meanings, in many cases
l have become all but obscured.While Botero's
art is tangibly present as an indispensable
part of popular visual culture in the Western
imagination, its deeper references and the
processes of its creation have become camouflaged
by both its highly visible public profile
and its commercial appropriation.The art
of Botero must be read on a variety of planes.
The levels of meaning unfold when scrutinized
under the lens of both his historical development
and the intentions of the messages that
his paintings, drawings and sculptures convey
Botero's
career developed out of a virtual void of
art historical tradition. The semi- isolated
cities and towns of central Colombia had
little contact with the larger world of
''culture'' in its conventional contexts
when the artist was developing his talent
in the 1940s and early 1950s. In another
context, however, Botero availed himself
of artistic modes distinct from the modernity
of the major urban cultural centers of South
America at this time. His observation of
the colonial images, both painted and sculpted,
in the churches of his youth, served as
a rich spring that fed the imagination of
a child already endowed with a craving to
make art.The religious paintings and sculptures
of provincial chapels or home altars naive
expressions of religiosity according to
standard classifications and hierarchies
of art, but central to the spiritual nourishment
of the populace throughout the centuries
in urban and rural Latin America - are key
to understanding the beginnings of the aesthetic
of Botero, Later he would excavate his memories
of such things, re-encountering and reinventing
them in his studio, giving new life to the
strong colors, exaggerated forms and expressive
faces of the people and things that he had
observed in the religious art and the popular
commercial prints that were a natural part
of his life as a child and a young man in
Medellín.The intersection of the
popular and ''high'' in art has been critically
important to the various discourses of modernity,
from the first decades of the twentieth
century onward. Botero has engaged in these
dialogues between the popular and the elevated,
discovering in both aspects that would form
critical components of his distinct form
of expression.
----------
Fernando Botero's distinctive style of smooth
inflated shapes with unexpected shifts in
scale is today instantly recognizable. It
reflects the artist's constant search to
give volume presence and reality. The parameters
of proportion in his world are innovative
and almost always surprising. Appropriating
themes from all of art history-- from the
Middle Ages, the Italian quattrocento, and
Latin American colonial art to the modern
trends of the 20th century--Botero transforms
them to his own particular style.
Born
in 1932 in Medellin, Colombia, Botero became
interested in painting at an early age.
His artistic precocity was evident in an
illustrated article he contributed to the
Medellin newspaper El Colombiano when he
was seventeen. Titled Picasso and the Nonconformity
of Art it revealed his avant-garde thinking
about modern art. Botero moved to Bogotá
in 1951 and held his first one-man exhibition
there at the Leo Matiz Gallery. The following
year, at the age of twenty, he was awarded
a Second Prize at the National Salon in
Bogota.
With
the money he earned from the Salon award
and his exhibitions, Botero traveled to
Spain, France and Italy to study the work
of the old masters. In Madrid, he visited
El Prado Museum daily while studying at
the San Fernando Academy. In Florence, he
studied at the Academy of San Marcos and
was profoundly influenced by the works of
Giotto, Piero della Francesca, Paolo Uccello
and Andrea del Castagno.
It
was during a brief stay in Mexico that Botero
produced Still Life with Mandolin (1956),
the first work in which "puffed-up"
form makes a definite appearance. Two years
later he was awarded a First Prize at the
National Salon in Bogota for his Bridal
Chamber: Homage to Mantegna, a work inspired
in Mantegna's 1474 frescoes for the Ducal
Palace in Mantua.
Botero
later did a second version on this theme,
which is now in the collection of the Hirshhorn
Museum. Botero moved to New York in 1960
and the following year the Museum of Modern
Art of New York acquired his painting Mona
Lisa, Age Twelve for its collection. During
this period he experimented briefly with
a gestural brushstroke, which Botero called
his flirtation with the School of New York.
Over the next years Botero continued to
explore the manipulation of form for aesthetic
effect, gradually eliminating all traces
of brushwork and texture, opting instead
for smooth inflated shapes.
His
continuing attraction to the Colombia of
his youth is reflected in paintings rooted
in small town Colombian life--middle-class
family groups, heads of state, prelates,
madonnas, military men, prostitutes and
opulent still lifes with exotic fruit. In
1973 Botero left New York for Paris and
began to produce sculpture, although without
giving up painting. His work in a three-dimensional
art was a natural progression for an artist
singularly dedicated to expressing volume
and mass.
It
is not the semblance of volume, however, but
volume itself, a tangible volume, that the
medium of sculpture offers. His vision involves
the conviction that monumentality is not so
much a question of size as it is of proportion.
It is a search for the heroic in art, an attribute
that Botero first discovered as a student
in Florence. Today Fernando Botero divides
his time between Paris, New York and Tuscany.
His paintings, sculptures, and drawings are
exhibited and represented in museum collections
throughout the world.
Las pinturas de BOTERO
Donación
Botero
Biography (English
version)
Biografía
Frases
y Citas BOTERO