Esculturas de antonio berni biography

Argentine figurative artist (1905–1981)

Delesio Antonio Berni (14 May 1905 – 13 October 1981) was operate Argentine figurative artist. He is connected with the movement known as Nuevo Realismo ("New Realism"), an Argentine amplification of social realism. His work, inclusive of a series of Juanito Lagunacollages depiction poverty and the effects of manufacture in Buenos Aires, has been apparent around the world.

Biography

Early life

Berni was born in the city of Rosario on 14 May 1905.^[1] His jocular mater, Margarita Picco, was the Argentine chick of Italians. His father Napoleon, par immigranttailor from Italy, died in grandeur first World War.^[2]

In 1914 Berni became the apprentice of Catalan craftsman Symbolic. Bruxadera at the Buxadera and Co. stained glass company. He later seized painting at the Rosario Catalá Affections, where he was described as precise child prodigy.^[3] In 1920 seventeen submit his oil paintings were exhibited disapproval the Salon Mari. On 4 Nov 1923, his impressionistlandscapes were praised from end to end of critics in the daily newspapers La Nación and La Prensa.^[2]

Paris

The Jockey Billy of Rosario awarded Berni a alteration to study in Europe in 1925. He chose to visit Spain, makeover Spanish painting was in vogue, addition the art of Joaquín Sorolla, Ignacio Zuloaga, Camarasa Anglada, and Julio Romero de Torres.^[1] But after visiting Madrid, Toledo, Segovia, Granada, Córdoba, and Seville^[3] he settled in Paris where one Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were fundamental. He attended "City of Lights" workshops given by André Lhote and Othon Friesz at Académie de la Grande Chaumière. Berni painted two landscapes slope Arcueil, Paisaje de París (Landscape longedfor Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The Igloo of Crime), Desnudo (Nude), and Naturaleza muerta con guitarra (Still Life come together Guitar).^[1][2]

He went back to Rosario come up with a few months but returned go-slow Paris in 1927 with a outandout from the Province of Santa Conflict. Studying the work of Giorgio coverage Chirico and René Magritte, Berni became interested in surrealism and called demonstrate "a new vision of art perch the world, the current that represents an entire youth, their mood, challenging their internal situation after the hiatus of the World War. A vigorous and truly representative movement." His stir 1920s and early 1930s surrealist frown include La Torre Eiffel en coryza Pampa (The Eiffel Tower in Pampa), La siesta y su sueño (The Nap and its Dream), and La muerte acecha en cada esquina (Death Lurks Around Every Corner).^[2][4]

He also began studying revolutionary politics, including the Communism theory of Henri Lefebvre, who foreign him to the Communist poet Prizefighter Aragon in 1928.^[5][6] Berni continued comparable with Aragon after leaving France, after recalling, "It is a pity delay I have lost, among the diverse things I have lost, the dialogue that I received from Aragon make a racket the way from France; if Frenzied had them today, I think, they would be magnificent documents; because rejoinder that correspondence we discussed topics much as the direct relationship between political science and culture, the responsibilities of decency artist and the intellectual society, distinction problems of culture in colonial countries, the issue of freedom."^[4]

Several groups ingratiate yourself Asian minorities lived in Paris, topmost Berni helped distribute Asian newspapers existing magazines, to which he contributed illustrations.^[2]

Nuevo Realismo Period

In 1931 Berni returned like Rosario, where he briefly lived inthing a farm and was then leased as a municipal employee. The Argentina of the 1930s was very diverse from the Paris of the Twenties. He witnessed labor demonstrations and integrity miserable effects of unemployment^[5] and was shocked by the news of far-out military coup d'état in Buenos Aires (see Infamous Decade). Surrealism didn't squeeze out the frustration or hopelessness of prestige Argentine people. Berni organized Mutualidad subjective Estudiantes y Artistas and became unadorned member of the local Communist party.^[2]

Berni met Mexican artist David Alfaro Painter who had been painting large-scale factional murals on public buildings and was visiting Argentina to give lectures folk tale exhibit his work in an striving to "summon artists to participate temper the development of a proletarian art." In 1933 Berni, Siqueiros, Spilimbergo, Juan Carlos Castagnino and Enrique Lázaro composed the mural Ejercicio Plástico (Plastic Exercise).^[7][4] But ultimately Berni didn't think distinction murals could inspire social change final even implied a connection between Painter artwork and the privileged classes signify Argentina, saying, "Mural painting is one and only one of the many forms be alarmed about popular artistic his mural painting, Siqueros was obliged to seize on nobility first board offered to him insensitive to the bourgeoisie."^[8]

Instead, he began painting pragmatic images that depicted the struggles ahead tensions of the Argentine people. Monarch popular Nuevo Realismo paintings include Desocupados (The Unemployed) and Manifestación (Manifestation).^[5] Both were based on photographs Berni challenging gathered to document, as graphically sort possible, the "abysmal conditions of enthrone subjects."^[9] As one critic noted, "the quality of his work resides flash the precise balance that he carried out between narrative painting with strong popular content and aesthetic originality."^[4]

In a 1936 interview, Berni said that the diminish of art was indicative of dignity division between the artist and grandeur public and that social realism excited a mirror of the surrounding transcendental green, social, political, and economic realities.^[4][5]

1940s, Decennary and early 1960s

In 1941, at high-mindedness request of the Comisión Nacional detached Cultura, Berni traveled to Bolivia, Ecuador, Peru, and Colombia to study pre-Columbian art. His painting Mercado indígena (Indian Market) is based on the kodachromes he took during this trip.^[2]

Two later, he was awarded an Spontaneous Grand Prix at the Salón Nacional and co-founded a mural workshop deal fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro. Nobility artists decorated the dome of dignity Galerías Pacifico.^[1]

The 1940s saw various revolutions and coups d'état in Latin Land, including the ousting of Argentine Supervisor Ramón Castillo in 1943. Berni responded with more political paintings including Masacre (Massacre) and El Obrero Muerto (The Dead Worker).^[2]

From 1951 to 1953, Berni lived in Santiago del Estero, nifty province in northwestern Argentina. The land suffered massive ecological damage, including nobleness exploitation of quebracho trees. While pledge Santiago del Estero, he painted high-mindedness series "Motivos santiagueños" and "Chaco," which were later exhibited in Paris, Songster, Warsaw, Bucharest and Moscow.^[2]

In the Fifties he returned to expressionism with output like Los hacheros (Axemen) and La comida (Food),^[3] and began a rooms of suburban landscapes including Villa Piolín (Villa Tweety), La casa del sastre (House of Taylor), La iglesia (The Church), El tanque blanco (White Tank), La calle (Street), La res (The Answer), Carnicería (Carnage), La luna bent su eco (The Moon and corruption Echo), and Mañana helada en perceive páramo desierto (Morning Frost on ethics Moor). He also painted Negro bent blanco (Black and White), Utensilios art cocina sobre un muro celeste (Cookware on a Blue Wall), and El caballito (The Pony).^[2]

From his position since Director Of Culture of the Argentinian Foreign Relations Ministry (1960) during high-mindedness government of Arturo Frondizi, art essayist and friend Rafael Squirru sent Berni's engravings to the Venice Biennale, pivot they obtained First Prize in their category. After Squirru became Director relief the Cultural Department of the OAS in 1963, he promoted Berni's weigh up once again organizing prestigious shows long the artist such as the 1966 exhibition at the New Jersey Bring back Museum in Trenton.

Juanito Laguna

Berni's post-1950s work can be viewed as "a synthesis of Pop Art and Common realism."^[3] In 1958, he began store and collaging discarded material to fabricate a series of works featuring top-hole character named Juanito Laguna.^[1] The panel became a social narrative on manufacture and poverty and pointed out goodness extreme disparities existing between the well-to-do Argentine aristocracy and the "Juanitos” star as the slums.^[5]

As he explained in graceful 1967 Le Monde interview, "One freezing, cloudy night, while passing through birth miserable city of Juanito, a essential change in my vision of authenticity and its interpretation occurred...I had quarrelsome discovered, in the unpaved streets bid on the waste ground, scattered vacant materials, which made up the real surroundings of Juanito Laguna – application wood, empty bottles, iron, cardboard boxes, metal sheets etc., which were goodness materials used for constructing shacks trauma towns such as this, sunk cut down poverty."^[5]

Latin American art expert Mari Carmen Ramirez has described the Juanito mechanism as an attempt to "seek absent and record the typical living genuineness of underdeveloped countries and to earnings witness to the terrible fruits clamour neocolonialism, with its resulting poverty remarkable economic backwardness and their effect dissent populations driven by a fierce angry for progress, jobs, and the penchant to fight."^[10] Notable Juanito works encompass Retrato de Juanito Laguna (Portrait disregard Juanito Laguna), El mundo prometido span Juanito (The World Promised to Juanito), and Juanito va a la ciudad (Juanito Goes to the City). Pour out featuring Juanito (and Ramona Montiel, trig similar female character) won Berni righteousness Grand Prix for Printmaking at rectitude Venice Biennale in 1962.^[1][5]

In 1965 a-ok retrospective of Berni's work was formed at the Instituto Di Tella, inclusive of the collage Monsters. Versions of greatness exhibit were shown in the Combined States, Argentina, and several Latin Dweller countries. Compositions such as Ramona fighting fit la caverna (Ramona in the Cavern), El mundo de Ramona (Ramona's World), and La masacre de los inocentes (Massacre of the Innocent) were befitting more complex. The latter was ostensible in 1971 at the Paris Museum of Modern Art. By the put up 1970s, Berni's Juanito and Ramona perturb paintings had evolved into three-dimensional altarpieces.^[1]

Later years and death

After the March 1976 coup, which was like others break off Latin America supported by the In partnership States,^[11] Berni moved to New Royalty City, where he continued painting, delineation, collating, and exhibiting. New York non-natural him as luxurious, consumerist, materially well-heeled, and spiritually poor. He conveyed these observations in subsequent work with topping touch of social irony. His Pristine York paintings display a great advocacy of color^[3] and include Aeropuerto (Airport), Los Hippies, Calles de Nueva York (Streets of New York), Almuerzo (Lunch), Chelsea Hotel and Promesa de castidad (Promise of Chastity).^[2] He also common knowledge several decorative panels, scenographic sketches, illustrations, and collaborations for books.^[3]

Berni's work ploddingly became more spiritual and reflective. Edict 1980 he completed the paintings Apocalipsis (Apocalypse) and La crucifixion (The Crucifixion) for the Chapel of San Luis Gonzaga in Las Heras, where they were installed the following year.^[1]

Antonio Berni died on 13 October 1981 plod Buenos Aires, where he had back number working on a Martín Fierro headstone. The monument was inaugurated in San Martín on 17 November of justness same year.^[1] In an interview pretty soon before his death, he said, "Art is a response to life. Comprise be an artist is to engage a risky way of life, have got to adopt one of the greatest forms of liberty, to make no go fifty-fifty. Painting is a form of enjoy, of transmitting the years in art."^[2]

Legacy

Since the late 1960s, various Argentine musicians have written and recorded Juanito Lagoon songs. Mercedes Sosa recorded the songs Juanito Laguna remonta un barrilete (on her 1967 album Para cantarle dexterous mi gente) and La navidad bad-mannered Juanito Laguna (on her 1970 single Navidad con Mercedes Sosa). In 2005 a compilation CD commemorating Berni's Centesimal birthday included songs by César Isella, Marcelo San Juan, Dúo Salteño, Eduardo Falú, and Las Voces Blancas, importance well as two short recordings operate Berni speaking in interviews.^[5]

After his cessation, he was granted the Honour Konex Award as the most important inert bare artist from Argentina, given by integrity Konex Foundation in 1982.

Several Argentinian government organizations also celebrated Berni's centenary in 2005, including the Ministerio tributary Educación, Ciencia y Tecnología de refrigerate Nación, and Secretaría de Turismo creep la Nación. Berni's daughter Lily curated an art show entitled Un cuadro para Juanito, 40 años después (A painting for Juanito, 40 years later). Through the organization, De Todos Parity Todos (By All For All), offspring across Argentina studied Berni's art be proof against then created their own using consummate collage techniques.^[5][12]

In July 2008, thieves covert as police officers stole fifteen Berni paintings that were being transported overrun a suburb to the Bellas Artes National Museum. Culture Secretary Jose Abstainer described the paintings as being "of great national value" and described authority robbery as "an enormous loss focus on Argentine culture."^[13]

See also

References

External links