voluptuouS IN voGuE —BotERo - Ode To Art · to fathom the enigmatic Fernando Botero. by Jazz...

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VOLUPTUOUS IN VOGUE —BOTERO Beauty presented by the messenger of curves, the maestro of rounded forms. Turning traditional conceptions on their head and slipping the viewer out of societal blinders into unassuming endearment, the forms of Botero are champions of the unsaid and unseen, speaking through in-expression, grandiose in their commonplace and creators of their own standards of beauty.

Transcript of voluptuouS IN voGuE —BotERo - Ode To Art · to fathom the enigmatic Fernando Botero. by Jazz...

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voluptuouS IN voGuE

—BotERoBeauty

presented

by the

messenger

of curves,

the maestro

of rounded

forms.

turning traditional conceptions on their head and slipping the viewer out of societal blinders into unassuming endearment, the forms of Botero are champions of the unsaid and unseen, speaking through in-expression, grandiose in their commonplace and creators of their own standards of beauty.

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FOREWORD

of Botero are champions of the unsaid and unseen, speaking through in-expression, grandiose in their commonplace and creators of their own standards of beauty.

Conceptual interpretations apart, the strokes of Botero- be it those of paint or charcoal, are resplendent in the soundness of their form. Technical vir-tuosity is Botero’s secret weapon- the allure behind the captivating image, and the establishment of his extent of skill. Botero brings together his tech-nique with deceptively simple forms, reveling in the celebration of the or-dinary and all the while, staying true to the traditions of Latin American art. The flatness, bright colors and boldly outlines figures speak as much of his culture, as do his subjects of choice- be it a rounded horse, a tepid couple dancing in mundane familiarity, or Pablo Escobar dead on a roof; the simple imageries of Botero have evolved into iconic symbols of not only ‘Boteris-mo’, but a wholly contemporary movement of abstract interpretation. The Horse of Botero has grown to become one of his most recognizable forms- just as his characteristic curves define his endearing subjects. Animals, still life, people in process of the incredibly ordinary- his art reflects his refresh-ingly altered worldview and his tenacity of expression, perception and alternatively communicative works.

The ultimate beauty of Botero’s works, is the power of interpretation they hold. They could represent beauty, unsightliness, comfort, confidence, sloth, mundane, extravagant- they have the power to mould to any percep-tion and yet, have an aura that is distinctly Botero. Surpassing medium, sur-passing convention- the works of Botero can take you on a journey through the artist’s mind or your own; through the historical events or simply images of emotion. They could be Colombian- they could be Universal- the possi-bilities are endless. Join us as we explore the infinity of his works, bounded by exaggerated outlines and even larger emotions; Join us as we attempt to fathom the enigmatic Fernando Botero.

by Jazz ChongDirector, Ode to Art

To hear Botero talk about his art is to listen to his passion; the same passion that sculpts the rounded hips of his sensual and voluptuous muses, the same passion that forms muted smiles on the face of extraor-dinary everyday characters, delicate contours in still life and the political fury of his denotive imagery. There is history in his works- a culture and an artistic revolution that renders him not only etched into the golden halls of artistic remembrance, but as, “The most Colombian of all Colombi-an artists”.

I am delighted to present to you the man who needs no introduction; the messenger of curves, the maestro of rounded form- Fernando Botero.

Creating an oeuvre that includes influences of everything from the frescoes of Pierro Della Franseca, to Goya, to Manet, to Matisse- Botero’s art skims both rule and passion to come together as art that surpass-es canonical identification and yet, adheres to stable technical skill. Using his images as his language of expression, Botero seems to me a narrator- a teller of fables with a libertarian accent whose power is the sedentary, and whose wisdom is wrapped in subtleties of irony and, sometimes, inherently scathing com-mentary. Turning traditional concep-tions on their head and slipping the viewer out of societal blinders into unassuming endearment, the forms

FoREWoRD

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On this and previous page:

Seated Man Charcoal on Paper 66 x 91.5 cm

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Man Smoking Watercolor on Paper 30 x 40 cm

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BOTERO

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Dressed in Grey Watercolor on Paper 32 x 38cm

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BOTERO

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The Ring Master Pencil on Paper 28 x 39 cm

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Trapezista Com Cachorro Graphite and Color Pencil on Paper 41 x 31 cm

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BOTERO

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Trapeze Artists Graphite and color pencil on paper 39.3 x 30cm

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BOTERO

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On the Beach Water Color on Paper 31 x 41cm

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Woman in Profile Charcoal on Paper 36 x 46 cm

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BOTERO

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Dancers Charcoal and Water Colour on Canvas 133 x 98 cm

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BOTERO

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The Dancers Charcoal on Paper 35 x 42 cm

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BOTERO

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The General Watercolor on Paper 30 x 40 cm

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BOTERO

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Dancers Charcoal on Canvas 132 x 89 cm

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Model in the Studio Oil on Canvas 56 x 44 cm

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Painter of Still Lifes Oil on Canvas 38 x 39cm

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Ucello Bronze 52 x 43 x 57cm

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Man on a Horse Bronze 59x 46 x 29.5 cm

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Horse Bronze 100 x 60 x 94 cm

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BIoGRApHYBorn in 1932 in Medellin, Colombia, Fer-

nando Botero is an artistic living legend

of our times. A prolific artist and creator

of the signature style ‘Boterismo’, the

artist’s rounded musings have made

him a global figure in the contemporary

art world, and the artistic ambassador

of Colombian pursuit. Instantly recog-

nizable by his enlarged forms, the artist

breaks through the glass ceiling of con-

formed aesthetics and creates beauty in

the face of the ordinary. Rounded from

convention, distinctive in spite of the

common place, and tied to Colombian

history and heritage- his simple forms

have reached monumental heights, and

are collected by major museums, corpo-

rations and private collectors all over the

world, including the United States, Korea

(Seoul), and Mexico City, to name a few.

Debuting in the artistic scene in 1948

when he was just 16 years old, Botero

studied painting in Madrid, and was

influenced by the artworks of Francisco

de Goya and Diego Velázquez. He had

his first exhibition in 1948 and first solo

exhibition 2 years later. Self-titled “the

most Colombian of Colombian artists”

early on, he came to national promi-

nence when he won the first prize at the

Salón de Artistas Colombianos in 1958.

Throughout the 1950s, Botero experi-

mented with proportion and size, and he

began developing his trademark style—

round, bloated humans and animals—af-

ter he moved to New York City in 1960.

The inflated proportions of his figures,

including those in Presidential Family

(1967), suggest an element of political

satire, and are depicted using flat, bright

color and prominently outlined forms—a

testamanet to Latin-American folk art.

While the artist’s works include still-lifes and landscapes, his most popular works

are his emblematic situational portraitures.

After reaching an international audience with his art, in 1973, Botero moved to

Paris, where he began creating sculptures. These works extended the founda-

tional themes of his painting, as he again focused on his bloated subjects. As his

sculpture developed, by the 1990s, outdoor exhibitions of huge bronze figures

were staged around the world to great success. In 2004 Botero exhibited a series

of 27 drawings and 23 paintings dealing with the violence in Colombia from the

drug cartels. He donated the works to the National Museum of Colombia, where

they were first exhibited. In 2005 Botero gained considerable attention for his Abu

Ghraib series, which was exhibited first in Europe. He based the works on reports of

United States forces’ abuses of prisoners at Abu Ghraib prison during the Iraq War.

Beginning with an idea he had on a plane journey, Botero produced more than 85

paintings and 100 drawings in exploring this concept and “painting out the poison”.

The series was exhibited at two United States locations in 2007, including Washing-

ton, DC. Botero said he would not sell any of the works, but would donate them to

museums. In 2006, after having focused exclusively on the Abu Ghraib series for

over 14 months, Botero returned to the themes of his early life such as the family

and maternity. In his Une FamilleBotero represented the Colombian family, a subject

often painted in the seventies and eighties. In his Maternity, Botero repeated a

composition he already painted in 2003, being able to evoke a sensuous velvety

texture that lends it a special appeal and testifies for a personal involvement of the

artist. The child in the 2006 drawing has a wound in his right chest as if the Author

wanted to identify him with Jesus Christ, thus giving it a religious meaning that

was absent in the 2003 artwork. In 2008 he exhibited the works of his The Circus

collection, featuring 20 works in oil and watercolor.

In a 2010 interview, Botero said that he was ready for other subjects: “After all

this, I always return to the simplest things: still lifes.” His works feature a figurative

style, known as “Boterismo”, giving them an unmistakable identity. Botero depicts

women, men, daily life, historical events and characters, milestones of art, still-life,

animals and the natural world in general, with exaggerated and disproportionate

volumetry, accompanied by fine details of scathing criticism, irony, humor, and

ingenuity. His paintings and sculptures are united by their proportionally exagger-

ated or “fat” figures, as he once referred to them. Botero is an abstract artist in

the most fundamental sense, choosing colors, shapes, and proportions based on

intuitive aesthetic thinking. Though he spends only one month a year in Colombia,

he considers himself the “most Colombian artist living” due to his insulation from

the international trends of the art world. In the last three decades, he has achieved

international recognition for his paintings, drawings and sculpture, with exhibitions

across the world. His art is now widely known as a kep part of the makings of mod-

ern contemporary art history.

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Biography

2014

2012

2011

2010

2009

2008

2007

Selected Solo Exhibitions

ArtStage, Singapore, ODE TO ART

Fernando Botero: Monumental Sculpture, Marlborough Gallery, New York, New York, United

States. Via Crucis: The Passion of Christ, Museum of Antioquia, Medellín, Columbia. Fernando

Botero: disegnatore e scultore, PartArt, Pietrasanta, Italy.Fernado Botero. Una celebración,

Palacio de Bellas Artes, Mexico City, Mexico.

Botero, Bank Austria Kunstforum, Vienna, Austria. The Baroque World of Fernando Botero,

Toledo Museum of Art, Toledo, Ohio, United States. Fernando Botero, Via Crucis: The Passion

of Christ, Marlborough Gallery, New York, New York, United States.

Botero, Pera Museum, Istanbul, Turkey. Fernando Botero, Nassau County Museum of Art,

Roslyn Harbor, New York, United States. Inaugural Exhibition: Fernando Botero, David Benri-

mon Gallery, New York, New York, United States.2010 - 2011 Botero, Galeria Mundo, Bogotá,

Colombia. Botero in LA: Drawings, Paintings, Sculpture, Tasende Gallery, West Hollywood,

California, United States. Fernando Botero: Monumental Sculptore, Marlborough Chelsea,

New York, New York, United States. Fernando Botero: Monumental Sculpture, Marlborough

Chelsea, New York, New York, United States. Botero: Paintings and Drawings, The Vered

Art Gallery, New York, New York, United States. Fernando Botero: Exposition de sculptures

monumentales, The City of Saint-Tropez & Marlborough Monaco, Saint-Tropez, Monaco. The

Baroque World of Fernando Botero, Nevada Museum of Art, Reno, Nevada, United States.

El Dolor de Colombia, Pinacoteca Diego Rivero, Xalapa, Veracruz, Mexico. Fernando Botero:

Gente del circo, Contini Art Gallery, Venice, Italy. Fernando Botero, Galerie Thomas, Munich,

Germany. Fernando Botero, National Museum of Contemporary Art in Deoksu Palace, Seoul,

Korea. Fernando Botero: The Circus, James Goodman Gallery, Inc., New York, New York,

United States. The Baroque World of Fernando Botero, The Colorado Springs Fine Arts

Center, Colorado Springs, Colorado, United States.2009 - 2010Fernando Botero: The Abu

Ghraib Series, The Berkeley Art Museum & Pacific Film Archive, Berkeley, California, United

States.Testimonios de la barbarie, El Museo Nacional de Mexico, Tlaxcala, Mexico. el Ministe-

rio de Cultura, de ese país, y las autoridades culturales de Tlaxcala

Fernando Botero, The Circus Series, Galerie Gmurzynska, Abu Dhabi, United Arab Emirates.

traveled to Thomas Gibson Fine Art Ltd., London, England (through 2009)Abu Ghraib-El

Circo, Casa das Artes de Vigo, Vigo, Spain. Institut Valencia d’Art Modern, Centro Julio Gon-

zalez, Valencia, Spain.

Botero in Berlin, Lustgarten on the Museumsinsel, Berlin, Germany.2007 - 2011The Baroque

World of Fernando Botero, Musée National des Beaux-Arts du Québec, Québec, Canada.

traveled to the San Antonio Museum of Art, San Antonio, Texas; Oklahoma City Museum

of Art, Oklahoma City, Oklahoma; Society of the Four Arts, Palm Beach, Florida; Delaware

Art Museum, Wilmington, Delaware; New Orleans Museum of Art, New Orleans, Louisiana;

Memphis Brooks Museum of Art, Memphis, Tennessee; Colorado Springs Fine Arts Center,

Colorado Springs, Colorado; Crocker Art Museum, Sacramento, California Fernando Botero,

Kunsthalle Würth, Künzelsau, Baden-Würrtemberg, Germany.Botero - Oeuvres récentes,

Marlborough Monte carlo, Monte Carlo, Monaco.

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2006

2005

2013

2012

2011

2010

2009

2008

2007

2006

Fernando Botero: Abu Ghraib, Marlborough Gallery, New York, New York, United States.

traveled to University of California, Berkeley, California; Katzen Center of Art, American Uni-

versity, Washington DC; Monterrey, Mexico; Spain (through 2008)Fernando Botero, Athens

Concert Hall, Athens, Greece.

Fernando Botero - The Last 15 Years, Palazzo Venezia, Rome, Italy. Fernando Botero, Kun-

sthalle Würth, Baden-Württemberg, Germany.

Group Exhibitions

Fernando Botero, Richard Estes, Manolo Valdes: Peintures et Sculptures, Marlborough Mo-

naco, Monte Carlo, Monaco. Obra sobre papel: Explorando El Trazo, Marlborough Barcelona,

Valencia, Spain.

Art at War, The Beach Institute, Savannah, Georgia, United States.

Summer Group Exhibition, Marlborough Gallery, New York, New York, United States.

Zoom Latinamericano, Museo Nacional, Bogata, Colombia.

10 ans deja, Marlborough Monaco, Monaco, France. Latinas!, Nassau County Museum of Art,

Roslyn Harbor, New York, United States.

Latin American Flavor, Opera Gallery, Dubai, United Arab Emirates. Life, Opera Gallery, Lon-

don, England. Innovations in the Third Dimension: Sculpture of Our Times, Bruce Museum,

Greenwich , Connecticut, United States. arteaméricas, Miami Beach Convention Center,

Miami Beach, Florida, United States. Exhibition of 20th-Century Art, Gramercy Park Hotel

lobby, New York, New York, United States. Works on Paper, Marlborough Gallery, New York,

New York, United States. Fernando Botero and Dario Ortisz, Levant Art Gallery, Shanghai,

China. Insights on Still Life: From Matisse & Picasso to Botero & Muños Vera, Gary Nader Fine

Art, Coral Gables, Florida, United States. Beyond LImits, Sotheby’s at Chatsworth, Derbyshire,

England. Summer Exhibition, Marlborough Gallery, New York, New York, United States.

Latin American Art, Marlborough Gallery, New York, New York, United States. Beyond Limits,

Sotheby’s at Chatsworth, Derbyshire, England. SH Contemporary 2008, Shanghai Exhibition

Center, Shanghai, China. with Marlborough Gallery, New York, New York Art of Democracy:

War and Empire, Meridian Gallery, San Francisco, California, United States. Masterpieces in

Miniature, Delaware Art Museum, Wilmington, Delaware, United States. Group Exhibition,

Marlborough Monaco, Monte Carlo, Monaco. Summer Group Exhibition, Marlborough Gallery,

New York, New York, United States. Korea International Art Fair, x, Seoul, South Korea. Sculp-

ture from the Mouse House: The Olga Hirshhorn Collection at the Corcoran, Corcoran Gallery

of Art, Washington, DC, United States. through 2009The Sculptor’s Hand, Tasende Gallery,

West Hollywood, California, United States.The Grand Show, Gary Nader Fine Art, Miami,

Florida, United States. through 2009

Summer Group Exhibition, Marlborough Gallery, New York, New York, United States.

Latin Masters, Nassau County Museum of Art, Roslyn Harbor, New York, United States.

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Biography

2005

Selected Solo Exhibitions

Works on Paper, Marlborough Gallery, New York, New York, United States. Landscape,

Cityscape, Marlborough Gallery, New York, New York, United States. Beyond Geography,

Americas Society, New York, New York, United States.

public collections

Cafesjian Center for the Arts, Yerevan, Armenia National Museum of Colombia, Bogotá, Co-

lombia University of California, Berkeley, California, United States Israel Museum, Jerusalem,

Israel Hanover Museum of Art, Dartmouth College, Hanover, New Hampshire, United States

Museo de Arte Moderno, Bogotá, Colombia Wallraf-Richartz-Museum, Cologne, Germany Ed-

win A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, United States Tokus-

hima Modern Art Museum, Tokushima, Japan The State Hermitage Museum, St. Petersburg,

Russia Tel Aviv Museum of Art, Tel Aviv, Isreal Staatgalerie Moderne Kunst, Munich, Germany

Sonje Museum of Contemporary Art, Kyungju, South Korea Setagaya Art Museum, Tokyo,

Japan Pushkin Museum, Moscow, Russia Ponce Museum of Art, Ponce, Puerto Rico Niigata

Prefectoral Modern Art Museum, Niigata, Japan New Orleans Museum of Art, New Orleans,

Louisiana, United States Neue Pinakothek, Munich, Germany The Museum of Modern Art,

Saitama, Japan The Museum of Modern Art, New York, New York, United States Museum

Moderne Kunst, Vienna, Austria Museum of Art, The Rhode Island School of Design, Provi-

dence, Rhode Island, United States Museum of Art, Pennsylvania State University, University

Park, Pennsylvania, United States Museo Nacional de Bellas Artes, Santiago, Chile Museo

Nacional, Bogotá, Colombia Museo de Bellas Artes, Caracas, Venezuela Yamanashi Prefec-

tural Museum of Art, Yamanashi, japan Museo de Arte Contemporaneo de Caracas, Caracas,

Venezuela Museo de Antioquia, Medellín, Colombia Museo d’Arte Moderna del Vaticano,

Rome, Italy Miyagi Museum of Art, Miyagi, Japan Milwaukee Art Museum, Milwaukee, Wis-

consin, United StatesM.H.K. Foundation, Milwaukee, Wisconsin, United States The Metropol-

itan Museum of Art, New York, New York, United States Meadow Brook Art Gallery, Oakland

University, Rochester, Michigan, United States Lowe Art Museum, University of Miami, Coral

Gables, Florida, United States Kunsthalle Nuremberg, Nuremberg, Germany Hood Museum

of Art, Dartmouth College, Hanover, New Hampshire, United States Ho-am Museum, Seoul,

South Korea Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington,

D.C., United States Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Guild Hall

Museum, East Hampton, New York, United States The Solomon R. Guggenheim Museum,

New York, New York, United States The Grey Art Gallery and Study Center, New York Univer-

sity Art Collection, New York, New York, United States Gramercy Park Hotel, New York, New

York, United States Gelerie-Verein, Munich, Germany Fondation Veranneman, Kruishoutem,

Belgium Donación Fernando Botero, Coleccion Banco de la Republica, Santa Fe de Bogotá,

Colombia Colección Fernando Botero, Fundacion Santander Central Hispano, Medellin, Co-

lombia Collezione d’Arte Religiosa Moderna, Monumenti, Musei e Gallerie Pontificie, Vatican

City, Italy Birmingham Museum of Art, Birmingham, Alabama, United States The Baltimore

Museum of Art, Baltimore, Maryland, United States Ateneumin Taidemuseo, Helsinki, Finland

Astrup Museum, Oslo, Norway Archer M. Huntington Art Gallery, University of Texas at Austin,

Austin, Texas, United States

47

Page 48: voluptuouS IN voGuE —BotERo - Ode To Art · to fathom the enigmatic Fernando Botero. by Jazz Chong Director, Ode to Art To hear Botero talk about his art is to listen to his passion;

boterovoluptuous in vogue

First published 2014

on the occasion of Botero’s Voluptuous In Vogue Exhibition

Held 15 - 19 Jan 2014, at Art Stage Singapore

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Printed and bound in Singapore

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ODE solution ODE solution ODE solution ODE solution

ODE solution ODE solution ODE solution ODE solution