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Culture

BOTERO IN PICASSO´S MIRROR, IN FRANCE

Aix en Provence (France) / Where Picasso deconstructs, Botero hyperconstructs; where one breaking down the forms, the other highlight them; where the first paints horror and pain, the second draws placidity and joy. Until March 11, 2018 a new exhibition shows the affinities that bind them in Aix-en-Provence (southeast of France)

“I do not feel crushed by the work of Picasso, I say it without any modesty,” the Colombian artist admits to a group of journalists a day before the exhibition opens; the “dialogue” that some 60 of his works engage with some 20 of Spaniar is “a tribute, an opportunity present two artists with totally different styles but not opposed,” he says.

For the Colombian (Medellín, 1932), painting is “doing the same as the previous ones, but an another way”. Under this premise he explores recurrent themes throughout his life in the work of Picasso, exhibition structure.

An ornate and idealized Picasso, which Botero painted in 1998, opens the route, which first stops in the portraits and later in the still lifes, a genre to which both printed his singular touch.

Botero’s youthful dream was no different from that of any artist of his generation: traveling to Paris, being Pablo Picasso. But immediately, the Colombian rebels against his “dad”, whom he discovered in 1944 thanks to art books, and finds his style enhancing the forms and volumes which Picasso had decomposed years before.

Both drink from the classics sources (the same in many cases), with versions for example of Velazquez´s Meninas, in a constant effort to reinterpret reality from different approaches.

The nude and the sensuality or the reference to historical events are two ties that the exhibition gathers, before going into two themes in which the Picasso influence in Botero is unquestionable: bullfighting and the circus´s world.

“In painting there are not so many subjects, it is rather limited, whoever searches for subjects is not a painter, he is an illustrator”, says the Colombian, always provocative.

In few pictures the affinity will be seen better and at the same time the sidereal distance that separates them as “The cornada”, Botero’s revision of “The death of the bullfighter”.

In the painting of the Colombian, bull smiles while it mortally wounds matador, who glides sweetly on the animal as if he were asleep.

In this ” on correction´s own way” made by Botero of the original, the head of matador no longer yet appears ripped from the rest of the body no there is a horse whose guts come out, and there is hardly a trace of drama or violence by the goring .

“I look specially to aesthetics, art is to give pleasure to people, in the History of Art painting has always been more kind, one has only to look at the subjects that the impressionists chose,” Botero claims.

In essence, he insists, of Picasso we must praise his “coherence”, something that he also claims because also he have opted “for the volume as my radical idea”.

 

 

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Question 1
La noticia trata…
A
de una exposición que muestra qué tienen en común Picasso y Botero.
B
de una exposición que muestra que no hay ningún vínculo entre Botero y Picasso.
C
de una exposición sobre la influencia que tuvo Botero en Picasso.
Question 2
Según el texto…
A
la mayoría de las obras exhibidas son de Botero.
B
serán exhibidas el mismo número de obras de Botero y de Picasso.
C
serán exhibidas más obras de Picasso que de Botero.
Question 3
Según la noticia, ¿cómo retrató Botero a Picasso?
A
Algo regordete.
B
Ni gordo ni flaco.
C
Enjuto.
Question 4
Las formas de las figuras…
A
son más voluminosas en las obras de Picasso.
B
son más voluminosas en las obras de Botero.
C
son igual de voluminosas en las obras de Picasso y de Botero.
Question 5
Según el texto…
A
ambos pintores no comparten ninguna fuente de influencia en común.
B
ambos pintores tienen las mismas influencias a pesar de tener estilos diferentes.
C
solo estos pintores están influidos por artistas coetáneos.
Question 6
Botero pintó sobre los toros y el mundo circense.
A
Claro que sí.
B
¡Nadie lo sabe!
C
¡Jamás lo hizo!
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