Pintor colombiano fernando botero biography

Despite selling almost all of his paintings, he didn't gain favor of critics. Though he spent only one month a year in Colombia, he considered himself the "most Colombian artist living", due to his isolation from the international trends of the art world. In response to the Colombian peace processBotero sculpted and donated La paloma de la paz to the Government of Colombia to commemorate the signing and ratification of the agreement.

Botero was married twice. In Botero began living with Cecilia Zambrano. They had a son, Pedrowho was killed in in a car accident when they were vacationing in Spain. Pedro was four years old. Botero survived, but he lost the phalanx of the right little finger. Botero's work, Pedrito a Caballowas inspired by his late son and was painted in the months following the accident.

After the death of Escobar, Botero found out that two of his paintings were in Escobar's possession, and this angered him. Botero was kidnapped while in the city inand inone of his statues, The Bird of Peacewas blown up in a bomb attack. Botero's second wife was the Greek artist Sophia Vari with whom he resided in Paris and Monte Carlo until her death on 5 May [ 55 ] The couple also had a house in PietrasantaItaly.

Botero died from complications of pneumonia on 15 Septemberat age 91, in Monaco. Botero's painting Pope Leo X after Raphael has found a second life as a popular internet meme. It is typically seen with the caption "y tho". Contents move to sidebar hide. Article Talk. Read Edit View history.

Pintor colombiano fernando botero biography

Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikiquote Wikidata item. Colombian painter and sculptor — In this Spanish namethe first or paternal surname is Botero and the second or maternal family name is Angulo. For the Colombian politician, see Fernando Botero Zea. Fernando Botero Angulo [ 1 ]. Monte CarloMonaco.

Gloria Zea [ es ]. Cecilia Zambrano. Sophia Vari. Biography [ edit ]. Early life [ edit ]. Beside him is a dwarf dressed in a white clown costume. Behind him a woman dressed in green opens the shutter of a trailer. Inhaving spent a decade-or-so on "difficult" subject matter, Botero returned to more pleasurable themes in his art. He says that working on the Violence and Abu Ghraib series was "grim", "depressing", and "emotionally exhausting", so he, and his pintor colombiano fernando botero biography Sophia, took a vacation in Mexico.

While in the coastal town of Zihuantanejo, they visited a travelling circus. Botero was immediately struck by the colors, movements, and characters of the circus, and found in them the ideal subject for his art. Botero has produced more than oil paintings and drawings on this theme. Arts writer Curtis Bill Pepper writes that "Botero's distinctive exaggerated forms perfectly complement the exaggerated atmosphere of the circus".

Botero himself explains that "There is no other human activity that presents the visual artist with the human body in poses like the circus. The circus that inspired Botero was a "poor" circus, what he called "a very Latin American version of a universal theme". As his son and biographer Juan Carlos Botero observes, the characters in the "Circus" works wear the hardships of their lives in their expressions, yet the artist does not deride or mock them from a superior position.

Instead, he treats them with humanity, and portrays them with a gentle and tender humour that is decidedly "not funny". Fernando Botero, the second of three sons, was born to David Botero, a traveling salesman, and Flora Angulo, a seamstress. His father owned an impressive collection of books, including illustrated volumes on the French Revolution, and Dante's Divine Comedywhich the young Fernando enjoyed looking through.

His father died of a heart attack when Fernando was still just four years old and his uncle assumed the role of the father figure in his life. However, he was influenced from an early age by the impressive Baroque style of the city's Spanish colonial churches, which he sketched en plein airand by the pre-Columbian the country gained independence from Spanish rule in artifacts held in local museum collections.

He and his friends also painted street scenes from the city's red-light district. When Botero was twelve, his uncle sent him to study at a school for matadors where he stayed for two years. However, he was more interested in art, and enjoyed drawing and painting watercolors of bulls, landscapes, and still lifes. A trader in tickets for bullfights spotted the boy's talent and subsidized his profits from ticket sales by selling some of Botero's watercolors of bulls and matadors.

Botero used the cash payment to pay his tuition fees at the Liceo de Marinilla de Antioquia high school. He also wrote an article about Pablo Picasso for a local newspaper, in which he asserted the view that "the destruction of forms in Cubism reflected the destruction of individualism in modern society". The publication of the article was interpreted as a Marxist statement and saw him expelled from school.

Botero recalled: "The dean said, 'We cannot accept rotten apples in the school. That will damage the other students. The setback did not dampen his ambition, however, and by the age of nineteen Botero was pintor colombiano fernando botero biography he wanted to be a painter. On hearing her son's declaration, his mother warned: "You're going to die of hunger".

He had begun to experiment with figure proportion and size by this time but the works he presented were so varied, showing influences ranging from Gauguin to Diego Riverathat visitors assumed it was a group show. Every work was sold, however. In he moved on to Paris where he spent many hours scrutinizing works in the Louvre. Then, between andhe lived in Florence, where he studied fresco painting at the Accademia San Marco, and drew inspiration from the works of Early Renaissance masters such as Paolo Uccello and Piero della Francesca.

By Botero was back in Colombia. It was while in Mexico that Botero had his "eureka moment" with his painting Still Life with Mandolin As Dubai's Custot Gallery explained in its Botero catalogue entry, the painting marked "a major turning point in [Botero's] career. By changing the size of the central hole of the instrument, the proportions of the mandolin also changed, giving the impression that the instrument was growing.

Botero felt that something important had happened. From now on, he found his style and he would play with the proportions and the distortion of volume, not only in his human figure but also in his still life work". Botero himself recalled: "It took me fifteen years to make a 'botero' from start to finish, but I was insisting on the same idea and the same universe [ Inthe couple travelled to Washington D.

Botero remained in New York for over a decade, at first living in Greenwich Village, moving to a studio on the Lower East Side inbefore, after marrying his second wife, Cecilia Zambrano, inrelocating to a studio on Fifth Avenue. While in New York, Botero painted one of his first critiques of the Colombian state. La familia presidencial The Presidential Family depicts the Colombian president with his wife, mother-in-law, and daughter, flanked by a military general and a bishop.

The inflated proportions of his figures are rendered in flat, bright colors and strong outlines that owe a debt to the style of Latin-American folk art. In Botero opened another studio, this time in Paris, as his attentions turned increasingly toward sculpture. It was the perfect medium through which to expand the style and themes of his painting.

Botero and Cecilia had a son, Pedro, in but the next year the couple divorced. InBotero was married for a third time to the Greek sculptor and painter Sophia Vari they remain married to this day. However, tragedy struck in when Pedro was killed, and Botero badly injured, in a car accident while the family was on holiday in Spain. InBotero set up a studio in Pietrasanta, Italy, for the exclusive production of his sculptures as the area is known for its marble quarries and foundries.

He says, "I love living in Pietrasanta. This town has become a great family, a place where everybody knows me and where I can share an informal word and a glass of wine. I enjoyed painting in the small chapel of the Misercordia. I gave two frescoes as a token of my love for this land [ I have several houses around the world, but sentimentally speaking, this is my favorite abode".

Like them, he began to employ strong color schemes and he came to the realization that he had a responsibility to explore themes and subjects relating to Colombian and Latin American culture, heritage, and identity. He had, of course, already produced several paintings on this theme notably his bullfight paintings but by he was turning his attention more concertedly toward Colombia's popular cultural identity with scenes of Colombian nightclubs and Latin American musicians and dancers.

Arts writer Elena Martinique says that with works such as Dancing in Colombia"one can imagine the intoxicating confluence of loud music and odors of sweat, tobacco, liquor, and cheap cologne that fill the space". While some scholars and critics were apt to read the work as "social commentary", that alludes to illicit goings-on at nightclubs such as prostitutionart historian Kacper Grass reads the same image as revealing the "working-class origins" of Cumbiaa traditional Colombian style of dance and music that blends Indigenous, Black, and Spanish influences.

For his part, Botero stated only that "music, literature, and painting - all those oases of perfection that make up art - compensate for the rudeness and materialism of life". Moving from the late s into the s, Botero became increasing occupied with his sculpture, with celebrated outdoor exhibitions of his huge bronze animal and human figures.

He produced several "Great Cat" sculptures which appeared in cities around the world including Barcelona, New York, and Yerevan. The bombing, which occurred during a music festival, killed thirty people, and injured a further two hundred. The leftist guerrilla group FARC Revolutionary Armed Force of Colombia took responsibility for the bombing, claiming it was revenge against Botero's son, Fernando Botero Zea, who was at that time Colombia's defence minister and had refused to enter into political negotiations with the group.

Botero was deeply moved by the bombing and inhe donated an identical undamaged bronze bird which now sits next to the rebuilt bombed statute. Consultado el 16 de agosto de Consultado el 5 de septiembre de Archivado desde el original el 11 de junio de Consultado el 31 de mayo de Consultado el 27 de julio de Archivado desde el original el 14 de agosto de Consultado el 11 de octubre de Consultado el 24 de septiembre de Caracol Radio.

Enlaces externos [ editar ]. Cambiar a la tabla de contenidos. Fernando Botero Angulo en Famed Colombian sculptor and painter Fernando Botero died September 15 of pneumonia complications, according to the Associated Press. His daughter, Lina, first reported his passing to Colombian radio station Caracol. Known for his paintings of people and objects in colorful, inflated forms, Botero had his work displayed globally in museums and was beloved in Colombia partly because of his philanthropy.

Fernando Botero left matador school as a child to become an artist, displaying his work for the first time in as a teenager. The painter and sculptor died on September 15,at age By the early s, Botero had begun studying painting in Madrid, where he made his living copying paintings that hung in the Prado and selling the copies to tourists.

Throughout the s, Botero experimented with proportion and size, and he began developing his trademark style—round, bloated humans and animals—after he moved to New York City in The inflated proportions of his figures, including those in Presidential Familysuggest an element of political satire and are depicted using flat, bright color and prominently outlined forms—a nod to Latin-American folk art.

And while his paintings includes still lifes and landscapes, Botero typically concentrated on his emblematic situational portraiture. After reaching an international audience with his art, Botero moved to Paris inwhere he began creating sculptures. These works extended the foundational themes of his painting, as he again focused on his bloated subjects.