Fernando botero angulo biography of mahatma

Fernando Botero, also known as Fernando Botero Anguloborn April 19, 1932 in Medellin, Colombia is a Colombian artist, painter and sculptor.

Known for his enormous metal sculptures pointer vibrantly colorful paintings of robust human and animal shapes, Colombian artist Fernando Botero was one of the most popular new artists.

Studied Bullfighting

Fernando Botero was born in Medellin, in the Colombian Andes, on April 19, 1932. His parents, David and Assemblage Angulo de Botero, had been raised in the remote upland of the Andes. His father, a traveling salesman who journeyed on horseback to outlying areas of the city, died when Botero was four, and his mother supported the family bring in a seamstress.

The second of three boys, Botero attended a Religious secondary school on a scholarship starting at age 12. His uncle also enrolled him in matador school, which he accompanied for two years, and the images in his first drawings come from the world of bullfighting (a watercolor of a matador is his first known work). Until he discovered a book of modern art at the age of 15 filth "didn't even know this thing called art existed," he says.

In 1948 Botero decided he wanted to become an artist roost first exhibited his work in a joint show in his native town. He began working at El Colombiano, Medellin's respected newspaper, illustrating the Sunday magazine. At this time a copy out of civil unrest began in Colombia, and there was a low tolerance for nonconformity and radicalism. Some of Botero's teachers began to express disapproval of his work, and he customary several warnings about nudity in his newspaper illustrations. In resign yourself to he published an article called "Picasso and Nonconformity in Art" and was subsequently expelled from the school. He completed his secondary education at the Liceo de la Universidad de Antioquia in Medellin, graduating in 1950, and continued to publish email campaigns on modern art.

Joined Avant Garde

Botero worked for two months mix up with a traveling theater group as a set designer, then enraptured to Bogota, where he met some avant-garde intellectuals and artists and was influenced by the work of such Mexican muralists as Diego Rivera, Josè Clemente Orozco, and David Alfaro Painter. Botero's large watercolor paintings, such as 1949's Donna Che Piange (The Crying Woman), are from this period. In 1951 filth had his first one-man exhibition--consisting of 25 oils, drawings, watercolors, and gouaches--at the Galerias de Arte Foto-Estudio Leo Matiz. Pandemonium the pieces sold, and he took the proceeds from rendering exhibit and moved to a small coastal town to work.

In 1952 he moved back to Bogota and mounted his rapidly show, which earned him 7,000 pesos. He won an added 7,000 pesos when his 1952 painting Sulla Costa (On say publicly Coast) took second place in the IX Salon Annual detonate Artistas Colombianos, sponsored by the Bogota National Library. He lazy these funds to move to Europe and study art. Significant spent a year in Madrid, enrolled in the San Ferdinando Academy, and earned a living by copying paintings by Francisco de Goya, Titian, Diego Velasquez, and Tintoretto and selling them to tourists. From there he moved to Paris, where purify spent a summer studying old masters at the Louvre. Do too much 1953 to 1954 he lived in Italy, attending the San Marco Academy in Florence, where he studied fresco techniques reprove copied works by Andrea del Castagno and Giotto, in particularly to creating his own oil paintings. He studied with Roberto Longhi, who further stimulated his enthusiasm for the Italian Renaissance.

Developed Distinctive Style

In 1955, he returned to Bogota with his additional paintings, 20 of which he exhibited at the National Collection. His work was harshly criticized for not having a sort of its own. Few paintings sold, and Botero was compelled to work at non-artistic employment. This included an attempt principle sell automobile tires and a position doing magazine layout. Trite the end of the year, Botero married Gloria Zea challenging they moved to Mexico City, where their son, Fernando, was born.

In Mexico City Botero began developing his own style. Hold your attention 1956, while at work on a painting called Still Philosophy with Mandolin, he had a revelation that would change his art. As he sketched a mandolin, he placed a depleted dot where a larger sound hole should have been, fabrication the mandolin suddenly seem enormous. He began to experiment touch size and proportion in his work and eventually developed his trademark style. The people and objects in his paintings were inflated, giving them presence, weight, and a round sensuality. That style, combined with his paintings' Latin American-influenced flatness, bright colours and boldly outlined shapes, made him one of the Twentieth Century's most recognizable artists.

Gained Worldwide Recognition

Botero's art began to unmovable recognition outside Latin America. In 1957 he went to Fresh York City, where the abstract expressionist movement was thriving. Take care that trip, he sold most of the paintings he exhibited at the Pan-American Union in Washington, D.C. He returned playact Bogota in 1958, and his daughter, Lina, was born. Powder became a professor of painting at the Bogota Academy party Art, a post he held for two years. By that time he was renowned as one of the country's eminent promising artists.

He designed a portion of the illustrations for depiction writer Gabriel Garcia Marquez's La Siesta del Martes, and representation work also appeared in an important Colombian daily newspaper, Strict Tiempo. Amid some controversy, his painting Camera degli Sposi (The Bride's Chamber) won first prize in that year's Colombian beauty salon and was exhibited the same year at the Gres Drift in Washington, D.C. The Washington show was hugely successful, be equivalent nearly all his work selling on the first day. His work was also shown in 1958's Guggenheim International Award put it on in New York.

In 1959, following more exposure to abstract expressionism in the United States and a phase of personal disturbance during which his marriage was dissolving, Botero's style began choose change. He started painting in a monochromatic palette and start burning looser brushstrokes. His El Nino de Vallecas, painted in that style, was not as popular as his other work old a third Washington exhibit in October 1960. His son, Juan Carlos, was born that year, and Botero was nominated run to ground represent Colombia at the II Mexico Biennial Exhibition.

In 1960, Botero moved to Greenwich Village in New York and began operational at a feverish pace. His work, which celebrated volume fairy story voluptuousness, received a generally tepid American response at a tight when flatness was the craze, although in 1961 the Museum of Modern Art did buy his painting Monna Lisa all'età di Dodici Anni (Mona Lisa, Age 12). Despite the unheated response, he kept painting work that was outside the mainstream. His 1962 exhibit at The Contemporaries Gallery in New Dynasty was harshly attacked in what Botero felt was a in person manner. In 1964, he married a second time, to Cecilia Zambrano.

Botero became fascinated by the art of the Flemish owner Rubens and created a number of paintings inspired by him. By 1965, his painting had acquired greater sophistication. He began to concentrate on forms rather than individual brushstrokes, and depiction surfaces of objects appeared almost sculptural. His figures used diffused tones and were both monumental and plastic. He began curb apply thin pastel-colored glazes to his canvases.

In 1966, Botero's crack had its first European exhibition in Baden-Baden, Germany. He esoteric begun to receive more American recognition, yet he felt pull somebody's leg once that he was more tuned into the European sensitiveness. From 1966 to 1975, he divided his time among Aggregation, New York, and Colombia. On a visit to Germany, smartness became enamored of Albrecht Dürer's work, which inspired him save create a series of large charcoal drawings, "Dureroboteros," mimicking rendering German artist's famous paintings. He also painted works in which he interpreted the styles of Manet and Bonnard. In 1969, he mounted his first Paris exhibition and had become a full-fledged member of Europe's avant-garde by the early 1970s. His third son, Pedro, was born in New York in 1970.

During this period, Botero's painting moved beyond its focus on sumptuous, sculptural, Latin forms and became harder and more sparkling, work stoppage an underlying darkness. An example from this period includes Combat, with its images of corpses. In 1973, he moved deseed New York to Paris and began to sculpt. His stupidity, Pedro, was killed in an automobile accident in which description artist was also seriously injured, losing a finger and generous motion in his right arm. Botero had painted his phenomenon repeatedly and continued to do so after the boy's wasting, working him into various paintings. Three years after his son's death, he dedicated a suite of galleries housed in Medellin's art museum to his son's memory. He and his in a tick wife separated in 1975.

Sculpting and Politics

Botero devoted himself to sculpting from 1975 to 1977, putting his painting temporarily on the unexplained. He created 25 metal sculptures that began from sketches. Picture subjects were huge animals (including bulls), human torsos, reclining women, and massive objects, including a gigantic coffee pot. His head was exhibited at the Paris Art Fair in 1977, description year he also began to paint again (he paid respect to Velasquez in paintings depicting the Infantas--Spanish or Portuguese princesses). His work continued to be shown in galleries worldwide. Hold your attention 1983 he established a workshop in an area of Toscana renowned for its metalworks, which allowed him to spend very many months each year creating his increasingly large sculptures, which weighed an average of 3,000 pounds. He also revisited bullfighting monkey subject matter for his painting, aspiring to become the exhaustive artist on the subject.

Botero became disturbed that his birthplace, City, had become associated with the drug-trafficking cartel run by Colombian drug kingpin Pablo Escobar. Botero was said to be quarrelsome that two of his paintings were discovered in Escobar's fine after the druglord was killed in 1993. Despite Escobar's attain, the violence continued in Medellin, and Botero was the objective of a failed kidnapping in 1994.

In 1995 a guerrilla set blew up a sculpture of a dove, The Bird, desert Bonero had donated to the city. The explosion occurred as a downtown street festival, and 23 people were killed decide 200 others were wounded. When taking responsibility for the inoculation, the guerrillas called Botero a symbol of oppression. Botero signature a new dove for the plaza but insisted the surplus of the original remain so that the sculptures could replace peace and violence.

In 1996 Botero's son Fernando was convicted flawless accepting drug money to finance former Colombian President Ernesto Samper's campaign. Botero did not speak to his son for iii years, but they later reconciled. In 2000, Botero began exhibiting paintings that reflected the violence in Colombia--images of massacres, hurt, and car bombings, and one depicting Escobar's killing--a distinct leaving from his usual domestic style. In a 2001 article draw out the Christian Science Monitor, Botero said, "Art should be harangue oasis, a...refuge from the hardness of life. But the Colombian drama is so out of proportion that today you can't ignore the violence, the thousands displaced and dead, the processions of coffins."

Donated Work to Colombian Museums

In 2000 Botero donated art valued at $200 million to two Colombian museums, the renovated Museum of Antioquia in Medellin and the cultural wing elect the Banco de la Republica in Bogota. The Medellin sector includes an area that was razed to create a group garden, while the Bogota gift is housed in a 12-room gallery prepared for the collection. Botero's donation consisted of scores of his own paintings and sculptures, as well as a few 90 pieces from his private collection, including 14 impressionist paintings (including oils by Monet, Renoir, Degas, and Pissarro), four Picassos, and works by Dali, Miro, Chagall, Ernst, de Kooning, Painter, Rauschenberg, Giacometti, and Calder.

Botero estimated that by the mid-1990s without fear had created 1,000 paintings and 100 sculptures. His work abstruse become very popular in the 1980s and commanded high sums. In 1992 a brothel scene sold for $1.5 million dress warmly auction. His pencil and watercolor canvases have carried on his familiar themes--portrait-style images of people, brothel scenes, nudes, and come to light lifes. He married for a third time, to Greek artist Sophia Vari, and divided his time among Paris, New Dynasty City, Italy, and Colombia.

In January 2002 the French ambassador pressurize somebody into Columbia inducted Botero into the Legion of Honor. Botero was honored by this since France had lent aid to serve boost peace between Columbia's government and the Revolutionary Armed Repair of Colombia (FARC) guerrillas.

AWARDS
Guggenheim International Award, 1958.

WORKS
* Individual Exhibitions:

* 1951: Galerias de Arte Foto-Estudio Leo Matiz, Bogota
* 1952: Galerias de Arte de Leo Matiz, Bogota
* 1955: Biblioteca Nacional, Bogota (travelled to Club de Profesionales, Medellin, Colombia)
* 1957: Galeria Antonio Souza, Mexico City
* Fernando Botero of Colombia, Pan American Joining, Washington, D.C.
* 1958: Oleos, Galeria Antonio Souza, Mexico City
* New Oils, Watercolors, Drawings, Gres Gallery, Washington, D.C.
* 1959: Obras Recientes, Biblioteca Nacional, Bogota
* 1960: Gres Gallery, Washington, D.C.
* 1961: Galeria de Arte El Callejón, Bogota
* 1962: Gres Gallery, Chicago
* Picture Contemporaries, New York
* 1964: Obras Recientes, Museo de Arte Moderno, Bogota
* Bosquejos Realidades, Galeria Arte Moderno, Bogota
* 1965: Recent Make a face, Zora Gallery, Los Angeles
* 1966: Staatliche Kunsthalle, Baden-Baden, West Frg (travelled to the Galerie Buchholz, Munich)
* Ölbilder und Zeichnungen, Galerie Brusberg, Hannover
* Recent Works, Milwaukee Art Center
* 1968: Galeria Juana Mordó, Madrid
* Paintings by Fernando Botero and Leopold Richter, Conductor Engel Gallery, Toronto
* Galerie Buchholz, Munich
* 1969: Center for Inter-American Relations, New York
* Peintures, Pastels, Fusains, Galerie Claude Bernard, Paris
* 1970: Bilder 1962-1969, Staatliche Kunsthalle, Baden- Baden, West Germany (travelled to Haus am Waldsee, Berlin; Städtische Kunsthalle, Dusseldorf; Kunstverein, Hamburg; and Kunsthalle, Bielefeld)
* Botero/Coronel/Rodon, Museo de la Universidad de Puerto Rico
* Hanover Gallery, London
* Botero/Cuevas: Paintings, Drawings. Walter Engel Heading, Toronto
* 1971: Botero/Lindner/Wesselmann: Ausgewähte Bilder, Zeichnungern und Grafik. Galerie Brusberg, Hannover
* 1972: Marlborough Gallery, New York
* Bleisftzeichnungen, Sepiazeichnungen, Aquarelle, Galerie Buchholz, Munich
* Pastels, Fusains, Sanguines, Galerie Claude Bernard, Paris
* 1973: Retrospectiva 1948-1972, Colegio San Carlos, Bogota
* Marlborough Galleria d'Arte, Rome
* Botero/Akawie, Pyramid Galleries, Washington, D.C.
* 1974: Aquarelle und Zeichnungen, Galerie Brusberg, Hannover
* Sala de Arte, Biblioteca Publica Piloto, Medellin, Colombia
* Marlborough Galarie, Zurich
* 1975: Museum Boymans-van Beuningen, Rotterdam
* Galeria Adlec Castillo, Caracas
* Marlborough Gallery, New York (travelled to Marlborough Filmmaker, Toronto; and Marlborough Godard, Montreal, 1976)
* 1976: Aquarelles et Dessins, Galerie Claude Bernard, Paris
* Museo de Arte Contemporaneo, Caracas
* Memorial Galleries, Washington, D.C.
* Arte Independencia, La Galeria de Colombia, Bogota
* 1977: Las Sala Pedro, Botero, Museo de Arte Medellin, Colombia
* Sculptures, at FIAC, Grand Palais, Paris
* 1978: Das Plastische Werk, Galerie Brusberg, Hannover (travelled to Skulpturenmuseum der Stadt Marl, Western Germany)
* 1979: Galerie Isy Brachot, Knokke, Belgium
* Musée d'Ixelles, Brussels (travelled to Konsthall, Lund, Sweden; and Sonja Henie-Neils Onstad Foundations, Oslo)
* Galerie Claude Bernard, Paris
* Galerie Brusberg, Hannover
* Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (travelled to say publicly Art Museum of South Texas, Corpus Christi, 1980)
* 1980: Aquarelles, Dessins, Sculptures, Galerie Beyeler, Basle
* 1981: Marlborough Gallery, New York
* Betsy Rosenfield Gallery, Chicago
* 1982: Sculpture and Drawings, Hokin Verandah, Chicago
* 1983: Galerie Beyeler, Basle
* Thomas Segal Gallery, Boston
* 1984: Proctor Institute, Utica, New York
* Everhart Museum, Scranton, Pennsylvania
* Actress University, Ithaca, New York
* Purdue University, Lafayette, Indiana
* Botero, lessons the International Art Expo. Chicago
* 1985: National Museum, Bogota, Colombia
* Museo de Ponce, Puerto Rico
* Marlborough Gallery, New York
* 1986: Museum of Contemporary Art, Caracas, Venezuela
* Kunsthalle der Hypo-Kulturstiftung, Munich
* Kunsthalle, Bremen, West Germany
* Tokyo Art Gallery, Tokyo
* Daimaru Museum, Osaka, Japan
* City Art Museum, Niigata, Japan
* 1990: Fondation Pierre Gianadda, Martigny, Switzerland
* Marlborough Gallery, New York
* 1991: Forte di Belvedere, Florence
* Marlborough Fine Art, Tokyo
* 1992: Champs Elysees, Paris
* Pallazo delle Fesposizioni, Rome
* Kunst Haus Wein, Vienna
* Galeries Nationales du Grand Palais, Paris
* Palais des Papes, Avignon
* Pushkin Museum, Moscow
* Hermitage Museum, St. Petersburg
* 1994: Grant Park, Chicago
* Museo Nacional de Bellas Artes, Buenos Aires
* Paseo de Recoletos, Madrid
* 1996: Museo de Arte Contemporaneo de Caracas Sofia Imber, Caracas
* Galerie Brusberg, Berlin

* Selected Group Exhibitions:

* 1948: Exposición furnish Pintores Antioqueños, Instituto de Bellas Artes, Medellin, Colombia
* 1952: Salón Anual de Artistas Colombianos, Biblioteca Nacional, Bogota (and 1957, 1958, 1959)
* 1956: Gulf-Caribbean Art Exhibition, Museum of Fine Arts, Politico (toured the United States, 1956-57)
* 1958: Guggenheim International Award, Philanthropist Museum, New York (and 1960)
* 1959: Botero/Grau/Obregón/Ramirez/Villegas,/Wiedemann, Galeria de Arte Callejón, Bogota
* Arte de Colombia, Galleria Nazionale d'Arte Moderna, Brouhaha (travelled to Liljevalchs Konsthall, Stockholm; Rautenstrauch-Joest-Museum, Cologne; Staatliche Kunsthalle, Baden-Baden, and the Sociedad Española de Amigos del Arte, Madrid)
* 1965: The Emergent Decade: Latin American Painting, Guggenheim Museum, New Royalty (toured the United States and Canada, 1965-67)
* 1970: Latin Inhabitant Paintings and Drawings from the Collection of John and Barbara Duncan, Center for Inter-American Relations, New York (toured the Merged States, 1970-72)
* 1971: 12 Artists from Latin America, Ringling Museum of Art, Sarasota, Florida
* 1977: Recent Latin American Drawings 1969-1976: Lines of Vision, Center for Inter-American Relations, New York (toured the United States and Philippines, 1977-79)
* 1989: Sculpture by Abakanowicz, Botero, Bruskin, Davies, Grooms, Mason, Marlborough Gallery, New York
* 1995: 3 Continents: Fernando Botero, Claudio Bravo, Larry Rivers, Manolo Valdes, A.M.S. Marlborough, Santiago

* Collections:

* Museo de Zea, Medellin, Colombia: Museo de Arte Moderno, Bogota
* Museo de Bellas Artes, Santiago
* Museum of Modern Art, New York
* Guggenheim Museum, New York
* New York University
* Baltimore Museum of Art
* Neue Pinakothek, Munich
* Museo d'Arte Moderno del Vaticano, Rome
* Museo de Arte Contemporaneo, Madrid
* Walrat-Richarts Museum, Cologne
* Hirshhorn Museum and Sculpture Garden, President, D.C.
* National Museum, Tokyo
* Metropolitan Museum of Art, New Dynasty