- Hardcover: 240 pages
- Publisher: Villegas Editores (Oct 1 1999)
- Language: English
- ISBN-10: 958939373X
- ISBN-13: 978-9589393734
- Product Dimensions: 31.8 x 26.4 x 3.4 cm
- Shipping Weight: 2.5 Kg
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Product Details |
Product Description
Product Description
Are the drawings of Fernado Botero "notes" for future works? Or, as Marc Fumaroli states in this book, something different which has a goal in and of itself?
Whether choosing one or the other theory, Botero's drawings strive to regain possession of an artistic ideal which leads not so much to the finding of the evident complexity of his paintings and sculpture but rather to an approach to the problems of concept and structure in the "Boterian" world.
When these "notes" or sketches reappear in canvas or bronze, they allow a glance into the gestation of Botero's work, peeping into the intimate knowledge of his craft which has been acquired through his creative process. But, when the sketch remains there, on paper, it suddenly finds its true calling, its own "place in the world" and it is no longer necessary for it to be projected into another future work. That is why these drawings have the charm of what has been made to last as it is, in a state of grace, or in a sort of transition towards a painting.
There is no lost experience for the artist. His drawings, as well as the magnificent gallery of portraits which make up this book, testify to it. Drawings by Botero is, not only an exact expression of his aesthetics, but also a study of his figures and an inner reflection of his pictorial world, through the lessons taught by the virtuosity displayed in handling line contouring and proportions.
Giving material form in a world far removed from the transitional, the series of drawings includes portraits--half real, half imaginary--or personages to whom Botero has given ironic, critical or tender lives in that world of his that has become dear to us: the bishop, the acolyte, the bullfighter, the lovers...the gallery is endless.
As it is, critical recognition of drawing limits itself to the mere credit of its usefulness as preliminary sketching in the case of many artists. In Botero's work, however, it is related to the ability to escalate towards another artistic dimension, that which implies making vital statements and decisions within the process of creating a work of art.
Whether choosing one or the other theory, Botero's drawings strive to regain possession of an artistic ideal which leads not so much to the finding of the evident complexity of his paintings and sculpture but rather to an approach to the problems of concept and structure in the "Boterian" world.
When these "notes" or sketches reappear in canvas or bronze, they allow a glance into the gestation of Botero's work, peeping into the intimate knowledge of his craft which has been acquired through his creative process. But, when the sketch remains there, on paper, it suddenly finds its true calling, its own "place in the world" and it is no longer necessary for it to be projected into another future work. That is why these drawings have the charm of what has been made to last as it is, in a state of grace, or in a sort of transition towards a painting.
There is no lost experience for the artist. His drawings, as well as the magnificent gallery of portraits which make up this book, testify to it. Drawings by Botero is, not only an exact expression of his aesthetics, but also a study of his figures and an inner reflection of his pictorial world, through the lessons taught by the virtuosity displayed in handling line contouring and proportions.
Giving material form in a world far removed from the transitional, the series of drawings includes portraits--half real, half imaginary--or personages to whom Botero has given ironic, critical or tender lives in that world of his that has become dear to us: the bishop, the acolyte, the bullfighter, the lovers...the gallery is endless.
As it is, critical recognition of drawing limits itself to the mere credit of its usefulness as preliminary sketching in the case of many artists. In Botero's work, however, it is related to the ability to escalate towards another artistic dimension, that which implies making vital statements and decisions within the process of creating a work of art.
About the Author
Marc Fumaroli, well known French expert and scholar on Rhetorics, Art and Literature was born in Marseilles in 1932. Author of numerous publications, including essays and investigations, he has also been a professor, guest lecturer and teacher at various universities and other academic and research institutions in Europe and USA. He is also a member of several societies of specialized studies in France and other countries, among them the British Academy, the American Academy of Science, Letters and Arts, and the Societe d'Histoire Litteraire de la France. Marc Fumaroli often writes in specialized magazines as well as in French newspapers Figaro and Le Monde. He was chosen in 1995 as a member of the Academie Francaise, chair Number 6, succeeding Eugene Ioneso. Fumaroli has received the Monseigneur Marcel and the Critique prizes in 1982 and 1992, respectively, and is President, since 1996 of the Societe des Amis du Louvre.
Fernando Botero, the Colombian painter born in Medellin on April 19, 1932, is known throughout the world as one of the great artists of the second half of the twentieth century. He held his first public exhibition of paintings at the age of 16 and moved to Bogota when he was 19. In 1952, he travelled to Madrid where he enrolled in the Academia de San Fernando and intensively studies the paintings in the Prado Museum. A year later, he travelled to Italy and devoted himself to studying Renaissance art in Florence. In 1955, Botero returned to Bogota where he spent five years before moving to New York where he lived until 1973. He then settled in Paris and began working in sculpture. In 1983, he established his home and studio in Piertrasanta, a village in Tuscany, Italy.
Both the pictorial and sculptural work of Botero have been widely exhibited, awakening the admiration and enthusiasm of art-lovers all over the world.
At the present time, Botero lives and works in Paris, New York and Pietrasanta.
Fernando Botero, the Colombian painter born in Medellin on April 19, 1932, is known throughout the world as one of the great artists of the second half of the twentieth century. He held his first public exhibition of paintings at the age of 16 and moved to Bogota when he was 19. In 1952, he travelled to Madrid where he enrolled in the Academia de San Fernando and intensively studies the paintings in the Prado Museum. A year later, he travelled to Italy and devoted himself to studying Renaissance art in Florence. In 1955, Botero returned to Bogota where he spent five years before moving to New York where he lived until 1973. He then settled in Paris and began working in sculpture. In 1983, he established his home and studio in Piertrasanta, a village in Tuscany, Italy.
Both the pictorial and sculptural work of Botero have been widely exhibited, awakening the admiration and enthusiasm of art-lovers all over the world.
At the present time, Botero lives and works in Paris, New York and Pietrasanta.
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5.0 out of 5 stars (1 customer review)
6 of 7 people found the following review helpful:
5.0 out of 5 stars
Drawings With Charm and Gentle Humor, Jun 18 2000
By Theodore Fusby - Published on Amazon.com
This review is from: Botero Drawings (Hardcover)
Fernando Botero has never been in fashion in academic/art critic circles because his work is too accessible, too easy to like. Almost all of his work has a cartoonish quality that is disarming, often humorous, and easily accessible to people unschooled in the arcane art theories of the moment. Indeed, who wants critics and theoreticians around to distract one from the sheer enjoyment of what Botero has to offer? And enjoyment is what this book is about. Botero's drawings are charming in both their subject matter and their execution, and this book shows them off superbly. Mixtures of watercolor, pencil, charcoal, or pastel, on paper or often on raw canvas, their techniques are varied and interesting. Admittedly their quality is somewhat variable, but at their best they are wry, eloquent, and riveting. Based on this book, I would love to own some of these drawings, but failing that, I am glad to own this book.
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