By Gilda Matos I went to the Palace of Fine Arts in Santo Domingo after joy, flat colors, inflated figures, themes nice and I met the big surprise: sadness, agony, pain, death, hate, compassion, and fear was shocked clothed my being to witness the testimony of the pain of Colombia. So ... for the first time I met La Otra Cara de Botero.
The author heads the representation of the most sought after artists of Latin America and the world. Always identified, so far, with the function of art to exalt life, produce pleasure in the audience and the recreation of outstanding performances in the history of art. He admits ideal of perfection admirer of Greek and Egyptian art, and faithful devotee of Renaissance and modern art, but his great human sensibility and love for Colombia, his native country, you have to show another face in the year 2000; maker of art with social content to denounce before the world " no reason for violence. " Her pain expands and goes beyond the 1, 141,748 square kilometer territory of their country and reached Santo Domingo in the expression contained in 67 sculptures, 25 paintings, 36 watercolors, drawings and 6 show another dimension of artistic face.
of his career and knew "his fat" and I always had the certainty that the artist continues in our time the aesthetic view of the first belonging to the Upper Paleolithic Venus of prehistory, as well as at the time, expresses the beauty of women in the voluptuous body shapes like a song to female fertility, sensuality and reproductive capacity, and this peculiar expression of his art seduce my imagination and the audience.
that we were used to Botero, so I never thought that the painter and sculptor would show another face in this exhibition, to trigger in me a catharsis to exorcise the anger towards violence, death, greed and all the consequences of the illicit drug anywhere in the world.
Your other profile is found in the elements of his pictorial language:
THE GESTURE
is a privileged element in pictorial paradigm, which Botero manages to gather an iconography of pain in a physiognomy that portrays horror, sadness, melancholy, fear and corporal forms icons such as have been codified in the history of painting.
plastic inherits his gestures of Piero Della Francesca, Mantegna and Dürer, and, like Giotto, use the gesture to show his emotions, the artist highlights the face because this is where the inside manifests itself, or in some cases, it is hidden.
De Piero inherited forms immobile and heavy presence of the sphere and cylinder.
Botero, this exhibition attempts to capture the furtive gestures and light, as usual, but the most outstanding and emphatic underlining the dramatic sense according to situations tragic stories.
His face also reveals the characters of his paintings and drawings:
WOMEN:
The woman is seen by the painter and the great victim of the breakdown of society, the pain plagues all areas of her life and their families.
DEATH:
The symbolism of death focuses the theme of the exhibition, the character pursues the performers of the images, frightening dream, fatal outcome of the scenes of violence. Evokes images of "Picasso's Guernica" at the scene of the painting "Matos Sierra" the war in Colombia, complex destructive, inhuman soul touches to the fibers of social breakdown.
In short, the other side of Botero revealed in the new aesthetic function of his art: the social criticism, the use of art to show violence and to demand the respect for life. This exhibition
Botero surprised me .... I saw your true face!, I went to pain Colombia, Dominican ... with deep sorrow.
0 comments:
Post a Comment