Monday , June 14 2021

Interview with Fernando Botero

November 17, 2018 01:30 AM

Fernando Botero's work (Medellín, Colombia – 1932) is part of the collections of 50 of the world's most important museums. A palette artist, paint and brushes, has never lost contact with the work with her hands. Its figurative art stimulates the volume and shape of the characters, stimulating more sensible, plastic and significant aesthetic. A reality has to mix with your imagination; sometimes kind, other navigation and violence. A sculpture, together with painting and drawing, has a relevant situation in his artistic production, whose objective is "creating a formal opulence". These strong figures, whether in marble or bronze, have been displayed in the world's most important paths, such as: The Champs Elysees in Paris, Park Avenue in New York, The Grand Canal in Venice or & # 39; r Paseo de Recoletos in Madrid.

The lives that are still, tongue, circus, religion or erotic form a vast theme of embedded in Latin America and especially in its native country with a clear skill in shaping and dyeing. The beautiful and violent convergence are imaginative Wicker which brings us closer to the essence of Colombia through an enchanting memory.

From a studio in Montecarlo that overlooks the Mediterranean Sea and its typical light, we are approaching the soul of this great artist.

Elena Cué: His knowledge of the history of art is very wide and the influence she has to do on her work is unexpectedly. Do you think that an artist can be full without these cultural bags?

Fernando Botero: The great art was born of deep knowledge of tradition and painting problems, but there are many times that are surprising about their fancy and shame as seen in popular art and some prominence of art modern.

E.C .: He has stated that "art is a permanent accusation". Do you criticize the artist's moral duty that he uses his work as evidence and a denial of the world's most violent injustice?

F.B .: The art of the art is the only duty on the artist. There is no moral obligation to report. An artist who faces a massive injustice can sometimes tend to say something about it, to state a situation is his choice.

E.C .: Goya's influence in his paintings is obvious. The series of engravings War disasters they reveal in all their play the cruelty of human barbarism. In his work he has a series about the offenses held in the Iraqi prison of Abu Ghraib after the attacks committed in the United States, in 2001. In our period of cybernetics the events are exceptional as & New news revokes old On the other hand, artwork is more powerful and lasts in time, becoming more current. Why do you choose exactly this series of crimes?

F.B .: I do not choose this series of crimes, it is impossible to ignore them; as the Americans of the prisoners in Iraq in Abu Ghraib prison are in the torture at the same time as Saddam Hussein tortured. Or there was the violence in Colombia on both sides that left thousands of victims and displaced and being in my country was particularly painful.

E.C .: Goya has already testified that barbarism did not disappear with the picture. Do you think there is hope in this?

F.B .: It is not possible for art to basically solve political situations. The artist shows a situation that continues to be a permanent white. Nobody would remember to bomb the small village of Basque, Guernica, if it was not for Picasso.

E.C .: With such a long life a lot of wisdom builds up. What do you think life mean?

F.B .: Life means different to every person. A good part takes an hedonistic attitude. In others, spiritual or cultural realization needs to be based on a specific discipline.

E.C .: Once artistic life is embraced in all its fulfillment, with all the complications, what advice would you give to younger generations of artists?

F.B .: An artist is born as a priest born. If he is a born artist, he would say that art is not a game, it's a very serious and complexity that requires a total commitment.

EC: With aesthetic as the one where the reality is expressed with a sensory folumen, what do you think of the English artist, Beryl Cook, which reflects the apparent religious vision of mankind with an aesthetics that are very similar to you?

F.B .: The first time I've heard about Beryl Cook.

E.C .: Produced its artistic production to the magical reality set by the importance of myth in Latin American events and the "new figure" characterized by returning to figurative painting informally. Do you agree with this inclusion?

F.B .: Magical reality, definitely not because my work does not work magically. I paint incredible things but not impossible. In my pictures, nobody flies and things are unlikely to happen.

Art is always too much in some way, in color, in the form, even in the theme, etc. … but it always liked it. Forms in nature are not the same as Giotto or Massacio's work, and the color is not in life as Van Gogh expressed.

New computing, it could be. It is more likely because we inherit the freedom of the abstract and that there is freedom in the form. In color and where it is intellectually and not realistic.

E.C .: What literature work has been able to influence and feed the painting that does?

F.B .: I do not think that the other arts can influence painting, sometimes a fragile image or popular artwork has a greater impact on a painter sensor or a literature campus. I was, in the place and the first place, intuitive, interested in exaggerating the volume.

E.C .: How important is the picture in your picture?

F.B .: It's very important to him. The picture is almost everything, that's the artist, this is his style, it is a formal conviction and then the color is a kind of gift made to the image.

E.C .: The generous donation of more than 200 works from a private collection to the Botero Museum in Bogotá, and another of approximately 20 times to the Antioquia Museum in Medellín, is an exemplar act.

What were your motivations and your satisfaction with this fact?

F.B .: The gift that I made to Colombia of my collection and much of my work is the best idea I have to get in my life. My best prize is to see how the public enjoys it.

E.C .: The Millennium Hindu book Kamasutra The transfer of the arts of love in spiritual and sexual condition is transferred in the Boterosutra has been regenerated by his imagination. What do you think artists have represented more skills with eroticism?

F.B .: Eroticism has major plastic signs especially in the East, in Persia, Japan, India, etc. … I made my series Boterosutra using more imagination than memory and always seek that the artistic aspect is more important than the subject. The rhythm of the picture, the subtle modeling, color application, is a leading element in this series. The theme is amazing and unique because only in love the human body takes aspects that may only be repeated in the circus.

E.C .: Nietszche in The birth of the disaster he writes "because it is only an esthetic phenomenon that exists and the world justifies eternol". Is art, as Nietzsche says, the metaphysical activity of life? For an artist like you, would this metaphysics be the only one that can make the existence of avatars tolerable?

F.B .: I never read Nietszche but I believe that the artist presents the world as a metaphysics of art. The artist presents a more beautiful and more friendly world of work, which makes the "avatars of existence" more tolerant as you say.

E.C .: The study of the relationship between the biography and the work of the artist has been consistent in the history of art. Colombia's memory and social and political news are expressed throughout his career. How do you see the evolution of your country over time? What do she have for you to focus on your national cultural identity?

F.B .: The work of an artist as a whole in a particular self-portrait way. My country, in the midst of big plays, has had a positive economic and cultural evolution. I believe in the importance of roots in the work of an artist. The thing that comes from the ground is the one that gives integrity to the work.

E.C .: What have been the most important moments of your life?

F.B .: The most important moments of my life have always been related to work. These were seconds when I felt that I had done something unexpected.

E.C .: What have you left to do?

F.B .: Learn to paint.

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