Art of the 20th Century

 



Art Styles in 20th century Art Map



 






Fernando Botero


 


 

Fernando Botero
 

Fernando Botero's satirical portraits of political, military and religious figures, musicians and royalty are portrayed as rotund and motionless, taking on the character of human still-life. Humorous in nature at first glance, Botero's paintings are more often than not social commentary with political overtones.

Born in Medellin, Colombia, Botero moved to Bogota in 1951 and had his first international show at the Leo Matiz Gal. Leaving for Madrid in 1952, he studied at the San Fernando Academy and, from 1953 until 1955, studied fresco technique and art history in Florence which has influenced his painting ever since. Returning to Colombia, he exhibited at the Biblioteca Nacional in Bogota and began teaching at the School of Fine Arts of the National University; the same year, he spent time in Mexico studying the political murals of Rivera and Orozco, whose influence is evident in his political perspective.

Botero's visit to the United States in the late 1950s prompted a return to live and work in New York for ten years beginning in 1960. Although Abstract Expressionism interested him, he sought his primary inspiration from the Italian Renaissance. During this period he began to experiment with creating volume in his paintings by expanding the figures and compressing the space around them, a quality which he continues to explore whether painting imaginary group portraits or parodies on the work of famous masters.

Widely exhibited in Europe and North and South America, Botero has received numerous awards including the First Intercol at the Museum of Modern Art in Bogota, and is included in major museums worldwide. Since the early 1970s, Botero has divided his time between Paris, Madrid and Medellin.

 
 

 

 

Fernando Botero: The Praise of Opulence

(Jose Maria Faerna)





 


Nudes
 

Botero has repeatedly denied any specific fascination with corpulence. The abundance of his figures—particularly evident in his nudes—cannot merely be identified as obesity. Labeling them "fat" is not an accurate description of his characters, insofar as they do not belong to the world of mortals, but to that of the pictorial imagination. Nowhere else in Botero's work is his quest for the expression of the tactile values of painting so manifest, nor is his intention of eliciting enjoyment through an exaltation of life easier to identify. In the artist's own words, he strives to "create sensuousness through form." This sensuousness, however, is almost always stripped of all sexual connotations, as his characters possess diminutive genitals and retain chaste attitudes throughout. Their welcoming bodies are not meant to engender urges of carnal desire. More frequently, the only yearning they elicit is to caress, at least with one's gaze. the sinuous geography of their skin, and explore their mysterious texture.

 


Le Dejeuner sur l'Herbe
1969


 


The Card Player
1988


 


Venus
1989


 


The Bath
1989


 


Nude
1988


 


The Letter
1976


 


The Bathroom
1993


 


Reclining Nude With Book


 


Odalisca


 


Woman Reading


 


Banistas


 


Donna allo specchio


 


Woman Looking into Her Mirror


 


La Toilette
1983


 


Card Players
1989


 


Lovers
1982


 


Reclining Woman
1998


 


Mujer


 


Mujer sentada


 


Mujer sentada


 


The Beach


 


The Dinner
1994


 


El dormitorio


 


Adám


 


Eva


 


La recámara


 


Susana y los viejos


 


Mujer reclinada

Discuss Art

Please note: site admin does not answer any questions. This is our readers discussion only.

 
| privacy