As imperdíveis works-primates by Fernando Botero

The voluminous personages face Botero painting an unmistakable art.

As figures roliças, of raised volumes, part of the aesthetic identity of the Colombian artist who pintou de tudo um pouco: still life, dinners with dancers, cavalos and rereleases of famous works such as Mona Lisa and Or Casal Arnolfini.

Conheça now the most consecrated works-primates of Fernando Botero.

1. You dance us (1987)

Na cloth You dance us We testemunhamos a sensualidade de uma daça a dois. It is about a provavelly Colombian dance hall (due to the cores of hanging decoration) with other voluptuous anonymous houses dancing.

TO noção de movimento A work is especially perceived thanks to the position that either the hair is senhora and painted, or that we face to believe that the house must be bem no meio de um passo.

In spite of not being able to visualize the face of the parceira, we can see the serene and intimate expression of the home that led to the dance.

2. Pablo Escobardead (2006)

A fabric crystallizes or the moment of the local death of the traffic bar. Pablo Escobar, who was practically a myth in Colombia, died in Medillín on December 2, 1993, just at the top of his house.

The size of Pablo in painting is huge, disproportionate, monumental compared to other illustrations of the image and translated into importance that the drug trafficker reaches in society.

Aware and concerned with the escalation of violence in Latin America, Botero chose this specific dinner for Pablo's assassination to immortalize.

To work Pablo Escobardead face part of a series that denounces violent episodes in Brazil and in the world.

3. Mona Lisa (1978)

Um two more acknowledged works of the Colombian painter and the rewriting bem humorada da Mona Lisa, Leonardo da Vinci's first work.

Here Botero delivers for or observer to his pessoal interpretation about the most famous Italian breeder. A contemporary Mona Lisa remains with the same position and a similar enigmatic smile, embracing the contours that are much more generous than the original.

Botero's protagonist, with more upturned forms, occupies a very large space of the cloth, turning off part of the landscape that appears in the creation of da Vinci. In a contemporary re-writing, it can be affirmed that Mona Lisa has gained so much more prominence.

4. Death of Pablo Escobar (1999)

The protagonist of the painting is Pablo Escobar, former Colombian traffic chief, on a plot responsible for the brutality that Vigorava not a South American country.

A painting grows on the face of a series that sought to portray violence in Colombia re-embracing armed conflicts that would take place at the second goal of the 20th century.

Or Botero's main objective to portray or drug trafficker was keep the memory of the people alive so that violent episodes are not repeated again.

Pablo appears enormously on the telhados of the house, a leading role that translates not only to the centrality of the image as well as to its proportion.

5. Dançarinas no Bar (2001)

To cloth Dançarinas no Bar jump with breaking expectations Once the viewer is not waiting to find a dancer who has a more rounded shape.

A single personagem of the painting is found on the shores turned to face, seeming to ignore reflected self-image, preferring to concentrate, not to exercise, or to face someone who is in front of her.

Despite her apparent physical limitations, the dancer is placed in a costly position of the ball as well as any other athlete.

6. Depois by Arnolfini Van Eyck (1978)

A fabric created in 1978 Botero face a leitura of a classic work Or Casal Arnolfini, painted hair Flemish artist Jan van Eyck in 1434. Precisely 544 years separated the original creation from the interpretation carried out by a Colombian painter.

The key elements of the painting are also kept allowing easy recognition by the observer. A painting by Botero, however, appears in a more modern context: it is advisable to repair that or candelabra Here it is replaced by a single electric lamp and the background panel has a new decoration. contemporary.

The two protagonists who are originals are also altered, gaining the characteristic contours of the Colombian painter.

In an interview with Bravo Magazine, Botero talks about the origin of the idea of ​​recreating classics in Western painting:

Um dos meus deveres as aluno da Escola San Fernando was to copy the originais not Prado: copy Tiziano, Tintoretto and Velázquez. Do not cheguei to copy Goya. Or my intuition was to learn, to get involved with the true technique used by these mestres. Eu fiz close to ten copies. Hoje not like I have more, I sold the tourists.

Quem é Fernando Botero

Born in Medellín, in Colômbia, Botero came in the world of plastic arts relatively I give in. For 15 years he sold his first designs and has not yet participated in the first time of a joint exhibition (in Bogotá). He also worked as an illustrator for the O Colombiano newspaper.

Twenty years old he moved to Spain, where he joined the Academia de San Fernando in Madrid. He also frequent a series of famous museums such as the Prado and three copies of works by painting mestres.

We have been following him for years to come to France and Italy, attending the Academia de San Marco (in Florença), where he is studying History of Art.

The first individual exhibition of the painter took place in 1957. Precoce, with only 26 years, he became a professor of painting at the Escola de Belas Artes at the National University of Bogotá. Botero held or position until 1960.

Além de painting, or artist draws and sculpts. A long year of the Botero career was reversed between Nova Iorque, Paris and América do Sul.

Quite awarded and I have achieved success with the public and critics, or the breeder continues to paint these days of the leaf. Either a Colombian painter is the most expensive living artist in Latin America.

Conheça also

• The works of Andy Warhol that you need to know!
• As imperdíveis works of Beatriz Milhazes
• As imperdíveis works of Roy Lichtenstein
• Livro Amar, Intransitive Verb by Mário de Andrade

Formed in Literature at the Pontifical Catholic University of Rio de Janeiro (2010), Master of Literature at the Federal University of Rio de Janeiro (2013) and doutora in Studies of Culture of the Pontifical Catholic University of Rio de Janeiro and of the Portuguese Catholic University of Lisbon (2018).