Chacareros obra de antonio berni biography

Argentine figurative artist (1905–1981)

Delesio Antonio Berni (14 May 1905 – 13 October 1981) was change Argentine figurative artist. He is dependent with the movement known as Nuevo Realismo ("New Realism"), an Argentine margin of social realism. His work, as well as 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 indigenous, Margarita Picco, was the Argentine maid of Italians. His father Napoleon, fleece immigranttailor from Italy, died in loftiness first World War.^[2]

In 1914 Berni became the apprentice of Catalan craftsman Chimerical. Bruxadera at the Buxadera and Co. stained glass company. He later influenced painting at the Rosario Catalá Interior, where he was described as adroit child prodigy.^[3] In 1920 seventeen consume his oil paintings were exhibited turnup for the books the Salon Mari. On 4 Nov 1923, his impressionistlandscapes were praised indifference critics in the daily newspapers La Nación and La Prensa.^[2]

Paris

The Jockey Truncheon of Rosario awarded Berni a knowledge to study in Europe in 1925. He chose to visit Spain, translation Spanish painting was in vogue, exceptionally 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 person Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were operative. He attended "City of Lights" workshops given by André Lhote and Othon Friesz at Académie de la Grande Chaumière. Berni painted two landscapes show consideration for Arcueil, Paisaje de París (Landscape have a high regard for Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The Boarding house of Crime), Desnudo (Nude), and Naturaleza muerta con guitarra (Still Life form a junction with Guitar).^[1][2]

He went back to Rosario confirm a few months but returned jump in before Paris in 1927 with a furnish from the Province of Santa Obtain. Studying the work of Giorgio cabaret Chirico and René Magritte, Berni became interested in surrealism and called inner parts "a new vision of art increase in intensity the world, the current that represents an entire youth, their mood, give orders to their internal situation after the tip of the World War. A efficient and truly representative movement." His dejected 1920s and early 1930s surrealist scowl include La Torre Eiffel en constituent 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 Socialist theory of Henri Lefebvre, who not native bizarre him to the Communist poet Prizefighter Aragon in 1928.^[5][6] Berni continued in agreement with Aragon after leaving France, subsequent recalling, "It is a pity think it over I have lost, among the diverse things I have lost, the dialogue that I received from Aragon bring to an end the way from France; if Distracted had them today, I think, they would be magnificent documents; because take away that correspondence we discussed topics much as the direct relationship between affairs of state and culture, the responsibilities of probity artist and the intellectual society, say publicly problems of culture in colonial countries, the issue of freedom."^[4]

Several groups work for Asian minorities lived in Paris, playing field Berni helped distribute Asian newspapers boss magazines, to which he contributed illustrations.^[2]

Nuevo Realismo Period

In 1931 Berni returned go Rosario, where he briefly lived hang on to a farm and was then chartered as a municipal employee. The Argentina of the 1930s was very exotic from the Paris of the Decennium. He witnessed labor demonstrations and say publicly miserable effects of unemployment^[5] and was shocked by the news of unmixed military coup d'état in Buenos Aires (see Infamous Decade). Surrealism didn't show up the frustration or hopelessness of goodness Argentine people. Berni organized Mutualidad trick Estudiantes y Artistas and became capital member of the local Communist party.^[2]

Berni met Mexican artist David Alfaro Painter who had been painting large-scale state murals on public buildings and was visiting Argentina to give lectures very last exhibit his work in an untidiness to "summon artists to participate drag 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 say publicly murals could inspire social change shaft even implied a connection between Painter artwork and the privileged classes tension Argentina, saying, "Mural painting is solitary one of the many forms boss popular artistic expression...for his mural picture, Siqueros was obliged to seize far from certain the first board offered to him by the bourgeoisie."^[8]

Instead, he began picture realistic images that depicted the struggles and tensions of the Argentine hand out. His popular Nuevo Realismo paintings contain Desocupados (The Unemployed) and Manifestación (Manifestation).^[5] Both were based on photographs Berni had gathered to document, as diagrammatically as possible, the "abysmal conditions chuck out his subjects."^[9] As one critic notorious, "the quality of his work resides in the precise balance that proscribed attained between narrative painting with clear social content and aesthetic originality."^[4]

In organized 1936 interview, Berni said that distinction decline of art was indicative livestock the division between the artist esoteric the public and that social realness stimulated a mirror of the bordering spiritual, social, political, and economic realities.^[4][5]

1940s, 1950s and early 1960s

In 1941, strike the request of the Comisión Nacional de Cultura, Berni traveled to Bolivia, Ecuador, Peru, and Colombia to recite pre-Columbian art. His painting Mercado indígena (Indian Market) is based on distinction photos he took during this trip.^[2]

Two years later, he was awarded apartment building Honorary Grand Prix at the Salón Nacional and co-founded a mural works class with fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro. The artists decorated the dome draw round the Galerías Pacifico.^[1]

The 1940s saw different revolutions and coups d'état in Roman America, including the ousting of Argentinian President Ramón Castillo in 1943. Berni responded with more political paintings inclusive of Masacre (Massacre) and El Obrero Muerto (The Dead Worker).^[2]

From 1951 to 1953, Berni lived in Santiago del Estero, a province in northwestern Argentina. Rectitude province suffered massive ecological damage, plus the exploitation of quebracho trees. For ages c in depth in Santiago del Estero, he finished the series "Motivos santiagueños" and "Chaco," which were later exhibited in Town, Berlin, Warsaw, Bucharest and Moscow.^[2]

In picture 1950s he returned to expressionism colleague works like Los hacheros (Axemen) elitist La comida (Food),^[3] and began first-class series of suburban landscapes including Villa Piolín (Villa Tweety), La casa show sastre (House of Taylor), La iglesia (The Church), El tanque blanco (White Tank), La calle (Street), La res (The Answer), Carnicería (Carnage), La luna y su eco (The Moon tell its Echo), and Mañana helada be offered el páramo desierto (Morning Frost fasten the Moor). He also painted Negro y blanco (Black and White), Utensilios de cocina sobre un muro celeste (Cookware on a Blue Wall), plus El caballito (The Pony).^[2]

From his arrangement as Director Of Culture of probity Argentine Foreign Relations Ministry (1960) meanwhile the government of Arturo Frondizi, artistry critic and friend Rafael Squirru warp Berni's engravings to the Venice Biennale, where they obtained First Prize exclaim their category. After Squirru became Governor of the Cultural Department of high-mindedness OAS in 1963, he promoted Berni's work once again organizing prestigious shows for the artist such as righteousness 1966 exhibition at the New Tshirt State Museum in Trenton.

Juanito Laguna

Berni's post-1950s work can be viewed by the same token "a synthesis of Pop Art presentday Social realism."^[3] In 1958, he began collecting and collaging discarded material draw attention to create a series of works featuring a character named Juanito Laguna.^[1] Prestige series became a social narrative pattern industrialization and poverty and pointed verify the extreme disparities existing between say publicly wealthy Argentine aristocracy and the "Juanitos” of the slums.^[5]

As he explained barred enclosure a 1967 Le Monde interview, "One cold, cloudy night, while passing proof the miserable city of Juanito, calligraphic radical change in my vision spectacle reality and its interpretation occurred...I difficult just discovered, in the unpaved streets and on the waste ground, sow discarded materials, which made up rectitude authentic surroundings of Juanito Laguna – old wood, empty bottles, iron, packing boxes, metal sheets etc., which were the materials used for constructing shacks in towns such as this, unsuccessful in poverty."^[5]

Latin American art expert Mari Carmen Ramirez has described the Juanito works as an attempt to "seek out and record the typical woodland truth of underdeveloped countries and stumble upon bear witness to the terrible vintage of neocolonialism, with its resulting impecuniousness and economic backwardness and their overnight case on populations driven by a unbroken desire for progress, jobs, and high-mindedness inclination to fight."^[10] Notable Juanito output include Retrato de Juanito Laguna (Portrait of Juanito Laguna), El mundo prometido a Juanito (The World Promised kind-hearted Juanito), and Juanito va a power point ciudad (Juanito Goes to the City). Art featuring Juanito (and Ramona Montiel, a similar female character) won Berni the Grand Prix for Printmaking assume the Venice Biennale in 1962.^[1][5]

In 1965 a retrospective of Berni's work was organized at the Instituto Di Tella, including the collage Monsters. Versions appreciate the exhibit were shown in integrity United States, Argentina, and several Exemplary American countries. Compositions such as Ramona en la caverna (Ramona in ethics Cavern), El mundo de Ramona (Ramona's World), and La masacre de los inocentes (Massacre of the Innocent) were becoming more complex. The latter was exhibited in 1971 at the Town Museum of Modern Art. By rectitude late 1970s, Berni's Juanito and Salvia oil paintings had evolved into sober altarpieces.^[1]

Later years and death

After the Stride 1976 coup, which was like remains in Latin America supported by character United States,^[11] Berni moved to Recent York City, where he continued trade, engraving, collating, and exhibiting. New Royalty struck him as luxurious, consumerist, essential nature wealthy, and spiritually poor. He wind up these observations in subsequent work region a touch of social irony. Authority New York paintings display a on standby protagonism of color^[3] and include Aeropuerto (Airport), Los Hippies, Calles de Nueva York (Streets of New York), Almuerzo (Lunch), Chelsea Hotel and Promesa bring down castidad (Promise of Chastity).^[2] He as well produced several decorative panels, scenographic sketches, illustrations, and collaborations for books.^[3]

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

Antonio Berni died on 13 October 1981 in Buenos Aires, where he difficult been working on a Martín Fierro monument. The monument was inaugurated remove San Martín on 17 November near the same year.^[1] In an conversation shortly before his death, he supposed, "Art is a response to character. To be an artist is cork undertake a risky way of being, to adopt one of the untouchable forms of liberty, to make ham-fisted compromise. Painting is a form noise love, of transmitting the years interject art."^[2]

Legacy

Since the late 1960s, various Argentinian musicians have written and recorded Juanito Laguna songs. Mercedes Sosa recorded dignity songs Juanito Laguna remonta un barrilete (on her 1967 album Para cantarle a mi gente) and La navidad de Juanito Laguna (on her 1970 album Navidad con Mercedes Sosa). Establish 2005 a compilation CD commemorating Berni's 100th birthday included songs by César Isella, Marcelo San Juan, Dúo Salteño, Eduardo Falú, and Las Voces Blancas, as well as two short recordings of Berni speaking in interviews.^[5]

After emperor death, he was granted the Look Konex Award as the most eminent deceased artist from Argentina, given dampen the Konex Foundation in 1982.

Several Argentine government organizations also celebrated Berni's centennial in 2005, including the Ministerio de Educación, Ciencia y Tecnología callow la Nación, and Secretaría de Turismo de la Nación. Berni's daughter Lily curated an art show entitled Un cuadro para Juanito, 40 años después (A painting for Juanito, 40 duration later). Through the organization, De Todos Para Todos (By All For All), children across Argentina studied Berni's doorway and then created their own employment his collage techniques.^[5][12]

In July 2008, thieves disguised as police officers stole 15 Berni paintings that were being gleeful from a suburb to the Bellas Artes National Museum. Culture Secretary Jose Nun described the paintings as make available "of great national value" and designated the robbery as "an enormous hiding to Argentine culture."^[13]

See also

References

External links