Fernando Botero
Fernando Botero, a Colombian artist who developed a signature style painting rotund, inflated yet sensuous figures with a whimsical or satirical edge, and who branched into monumental sculptures that adorned some of the world’s most famous boulevards, died September 15th, 2023 at a hospital in Monaco. He was 91.
Mauricio Vallejo, a co-owner of the Art of the World gallery in Houston and a close friend of Mr. Botero’s, confirmed the death and said the artist had pneumonia and Parkinson’s disease.
Mr. Botero’s aesthetic — often shorthanded as Boterismo — became a major draw at contemporary art museums and decorated the Champs-Élysées in Paris, Park Avenue in New York, Madrid’s Paseo de Recoletos and other renowned thoroughfares, as well as parks and plazas from Buenos Aires to Moscow to Tokyo. His emblematic oversized figures helped turn global attention to Latin American artists in the second half of the 20th century.
With deadpan irreverence, he scoured Colombia’s bourgeois urban scenes for imagery of extravagance, pomposity and greed. Mr. Botero early in his career seized on sharp visual contrasts: Tiny snakes, parrots, flies and bananas adorn his portraits of blimpy bullfighters, bishops, prostitutes, acrobats, ballroom dancers and politicians. Men with rotund faces sport tiny mustaches; hefty ladies smoke miniature cigarettes.
His figures on the canvas and cast in bronze were often voluptuous and slyly fanciful, although he would turn later to darker themes inspired by current events, such as drug violence in Colombia and torture at the U.S.-run Abu Ghraib prison in Iraq.
Mr. Botero’s work was highly popular and could fetch millions of dollars. Critics, however, especially in the 1960s, did not always approve of his work. Some dismissed it as gimmickry or caricature. An ARTnews reviewer once belittled his enlarged figures as “fetuses begotten by Mussolini on an idiot peasant woman.”
Edward J. Sullivan, a New York University professor who specializes in Latin American contemporary art, traced such animosity to the humor and accessibility of Mr. Botero’s public art installations, which challenged an establishment that often embraced inscrutability and jealously guarded its gatekeeper role.
“My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it’s good or not,” Mr. Botero told the Los Angeles Times. “I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.”
Mr. Botero’s cheekiness showed in his paintings of Marie Antoinette sauntering through the cobble-stoned street of a Colombian town, a humongous ballet dancer en pointe at the barre, and a serious-minded cleric lying in comical repose in a park. In a self-portrait, Mr. Botero depicted himself as a painter dressed in full bullfighting regalia.
He rejected suggestions that he should move beyond the voluminous figures in his paintings and his bulbous sculptures.
Fernando Botero Angulo was born in Medellín on April 19, 1932, the second of three siblings. His father, a salesman who sometimes made his rounds on horseback, died of an apparent heart attack when Mr. Botero was 4. His mother, a seamstress, struggled to maintain the family.
An uncle enrolled Mr. Botero in a bullfighting school, where pupils practiced passes before imaginary bulls. “We were about 20 pupils in the school. After much training, one day, the professor finally said, ‘Now, we’re going to experience with a real bull.’ Nineteen left the school, me included,” Mr. Botero told the South China Morning Post.
He began sketching scenes from the bullring, finding a passion outside his Jesuit school, where priests, scandalized by an admiring essay he wrote on the Spanish artist Pablo Picasso, expelled him in 1949.
Mr. Botero graduated from a public high school, eventually moving to Bogotá, the Colombian capital, a breathtaking experience that thrust the young artist into a creative milieu — artistic and literary — far removed from provincial Medellín. When one of his paintings placed second at a national competition in 1952, he used the prize money to study art in Madrid.
He visited the Louvre in Paris and settled in Florence in 1953, delighting in Renaissance paintings. But upon returning to Colombia in 1955, Mr. Botero bombed in his efforts to sell his work.
Mr. Botero and his first wife, Gloria Zea, moved a year later to Mexico City, where Mr. Botero seized on what would become his signature style. A Botero painting from this era — depicting a mandolin with an improbably tiny sound hole that made the instrument appear out of proportion — signified the artist’s exploration of volume.
He told the South China Morning Post that he resented the tendency among some viewers to dismiss his subjects as fat. “For me, it’s an exaltation of volume and sensuality,” he said. “I’ve done the opposite of what most artists do today — I’ve given importance to volume. I’ve also given importance to subject matter and expression — poetry. I don’t want to shock people. I want to give them pleasure.”
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Remembering Fernando Botero
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