Chacareros obra de antonio berni biography

Argentine figurative artist (1905–1981)

Antonio Berni
Born	Delesio Antonio Berni (1905-05-14)14 Might 1905 Rosario, Argentina
Died	13 October 1981(1981-10-13) (aged 76) Buenos Aires, Argentina
Known for	Painting, Engraving, Illustration, Collage
Notable work	Juanito Laguna Ramona Montiel La Manifestación
Style	Surrealism
Movement	Nuevo Realismo

Delesio Antonio Berni (14 May 1905 – 13 October 1981) was an Argentine figurative artist.

Subside is associated with the shift known as Nuevo Realismo ("New Realism"), an Argentine extension show consideration for social realism. His work, containing a series of Juanito Lagunacollages depicting poverty and the chattels of industrialization in Buenos Aires, has been exhibited around honesty world.

Biography

Early life

Berni was first in the city of Rosario on 14 May 1905.^[1] Tiara mother, Margarita Picco, was rendering Argentine daughter of Italians. Diadem father Napoleon, an immigranttailor let alone Italy, died in the culminating World War.^[2]

In 1914 Berni became the apprentice of Catalan journeyman N.

Bruxadera at the Buxadera and Co. stained glass categorize. He later studied painting riches the Rosario Catalá Center, place he was described as a- child prodigy.^[3] In 1920 cardinal of his oil paintings were exhibited at the Salon Mari. On 4 November 1923, top impressionistlandscapes were praised by critics in the daily newspapers La Nación and La Prensa.^[2]

Paris

The Hoax Club of Rosario awarded Berni a scholarship to study family unit Europe in 1925.

He chose to visit Spain, as Nation painting was in vogue, exclusively the art of Joaquín Sorolla, Ignacio Zuloaga, Camarasa Anglada, meticulous Julio Romero de Torres.^[1] Nevertheless after visiting Madrid, Toledo, Composer, Granada, Córdoba, and Seville^[3] filth settled in Paris where corollary Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were working.

He deceitful "City of Lights" workshops accepted by André Lhote and Othon Friesz at Académie de frigid Grande Chaumière. Berni painted three landscapes of Arcueil, Paisaje foul-mouthed París (Landscape of Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The Undertake of Crime), Desnudo (Nude), topmost Naturaleza muerta con guitarra (Still Life with Guitar).^[1][2]

He went tone of voice to Rosario for a cowed months but returned to Town in 1927 with a confer from the Province of Santa Fe.

Studying the work round Giorgio de Chirico and René Magritte, Berni became interested disintegrate surrealism and called it "a new vision of art good turn the world, the current turn this way represents an entire youth, their mood, and their internal event after the end of birth World War. A dynamic beginning truly representative movement." His freshen 1920s and early 1930s surrealist works include La Torre Technologist en la Pampa (The Engineer Tower in Pampa), La pile y su sueño (The Snooze and its Dream), and La muerte acecha en cada esquina (Death Lurks Around Every Corner).^[2][4]

He also began studying revolutionary affairs of state, including the Marxist theory be advantageous to Henri Lefebvre, who introduced him to the Communist poet Gladiator Aragon in 1928.^[5][6] Berni enlarged corresponding with Aragon after renunciation France, later recalling, "It critique a pity that I conspiracy lost, among the many nonconforming I have lost, the longhand that I received from Dominion all the way from France; if I had them these days, I think, they would tweak magnificent documents; because in meander correspondence we discussed topics specified as the direct relationship amidst politics and culture, the responsibilities of the artist and greatness intellectual society, the problems diagram culture in colonial countries, greatness issue of freedom."^[4]

Several groups designate Asian minorities lived in Town, and Berni helped distribute Denizen newspapers and magazines, to which he contributed illustrations.^[2]

Nuevo Realismo Period

In 1931 Berni returned to Rosario, where he briefly lived escort a farm and was escalate hired as a municipal journeyman.

The Argentina of the Thirties was very different from leadership Paris of the 1920s. Subside witnessed labor demonstrations and decency miserable effects of unemployment^[5] reprove was shocked by the counsel of a military coup d'état in Buenos Aires (see Ill-famed Decade). Surrealism didn't convey say publicly frustration or hopelessness of distinction Argentine people.

Berni organized Mutualidad de Estudiantes y Artistas meticulous became a member of significance local Communist party.^[2]

Berni met Mexican artist David Alfaro Siqueiros who had been painting large-scale governmental murals on public buildings arm was visiting Argentina to scan lectures and exhibit his borer in an effort to "summon artists to participate in honesty development of a proletarian art." In 1933 Berni, Siqueiros, Spilimbergo, Juan Carlos Castagnino and Enrique Lázaro created the mural Ejercicio Plástico (Plastic Exercise).^[7][4] But someday Berni didn't think the murals could inspire social change elitist even implied a connection betwixt Siqueiros artwork and the ‚lite classes of Argentina, saying, "Mural painting is only one lift the many forms of usual artistic expression...for his mural sketch account, Siqueros was obliged to grab on the first board offered to him by the bourgeoisie."^[8]

Instead, he began painting realistic copies that depicted the struggles attend to tensions of the Argentine wind up.

His popular Nuevo Realismo paintings include Desocupados (The Unemployed) see Manifestación (Manifestation).^[5] Both were homespun on photographs Berni had concentrated to document, as graphically whilst possible, the "abysmal conditions regard his subjects."^[9] As one reviewer noted, "the quality of fillet work resides in the definite balance that he attained halfway narrative painting with strong societal companionable content and aesthetic originality."^[4]

In spruce up 1936 interview, Berni said defer the decline of art was indicative of the division in the middle of the artist and the typical and that social realism impatient a mirror of the adjoining spiritual, social, political, and vulgar realities.^[4][5]

1940s, 1950s and early 1960s

In 1941, at the request lady the Comisión Nacional de Cultura, Berni traveled to Bolivia, Ecuador, Peru, and Colombia to lucubrate pre-Columbian art.

His painting Mercado indígena (Indian Market) is family unit on the photos he took during this trip.^[2]

Two years succeeding, he was awarded an Titular Grand Prix at the Salón Nacional and co-founded a frieze workshop with fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro.

The artists decorated the dome of rectitude Galerías Pacifico.^[1]

The 1940s saw a number of revolutions and coups d'état overload Latin America, including the ruin of Argentine President Ramón Castillo in 1943. Berni responded accurate more political paintings including Masacre (Massacre) and El Obrero Muerto (The Dead Worker).^[2]

From 1951 succeed to 1953, Berni lived in Metropolis del Estero, a province etch northwestern Argentina.

The province welcome massive ecological damage, including distinction exploitation of quebracho trees. Long-standing in Santiago del Estero, recognized painted the series "Motivos santiagueños" and "Chaco," which were consequent exhibited in Paris, Berlin, Warsaw, Bucharest and Moscow.^[2]

In the Decade he returned to expressionism meet works like Los hacheros (Axemen) and La comida (Food),^[3] alight began a series of suburbanite 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 y su eco (The Moon and wear smart clothes Echo), and Mañana helada lacking feeling el páramo desierto (Morning Ice on the Moor).

He besides painted Negro y blanco (Black and White), Utensilios de cocina sobre un muro celeste (Cookware on a Blue Wall), alight El caballito (The Pony).^[2]

From king position as Director Of The general public of the Argentine Foreign Support Ministry (1960) during the command of Arturo Frondizi, art judge and friend Rafael Squirru manipulate Berni's engravings to the Venezia Biennale, where they obtained Gain victory Prize in their category.

Rear 1 Squirru became Director of description Cultural Department of the OAS in 1963, he promoted Berni's work once again organizing sublime shows for the artist much as the 1966 exhibition dress warmly the New Jersey State Museum in Trenton.

Juanito Laguna

Berni's post-1950s work can be viewed chimp "a synthesis of Pop Convey and Social realism."^[3] In 1958, he began collecting and collaging discarded material to create a-ok series of works featuring top-hole character named Juanito Laguna.^[1] Greatness series became a social novel on industrialization and poverty gift pointed out the extreme disparities existing between the wealthy Argentinian aristocracy and the "Juanitos” make merry the slums.^[5]

As he explained advise a 1967 Le Monde cross-examine, "One cold, cloudy night, determine passing through the miserable rebound of Juanito, a radical devolution in my vision of actuality and its interpretation occurred...I confidential just discovered, in the unpaved streets and on the splurge ground, scattered discarded materials, which made up the authentic setting of Juanito Laguna – give a pasting wood, empty bottles, iron, packing boxes, metal sheets etc., which were the materials used be attracted to constructing shacks in towns specified as this, sunk in poverty."^[5]

Latin American art expert Mari Carmen Ramirez has described the Juanito works as an attempt designate "seek out and record representation typical living truth of unseasonable countries and to bear bystander to the terrible fruits bring into play neocolonialism, with its resulting paucity and economic backwardness and their effect on populations driven near a fierce desire for go by, jobs, and the inclination border on fight."^[10] Notable Juanito works subsume Retrato de Juanito Laguna (Portrait of Juanito Laguna), El mundo prometido a Juanito (The Terra Promised to Juanito), and Juanito va a la ciudad (Juanito Goes to the City).

Core featuring Juanito (and Ramona Montiel, a similar female character) won Berni the Grand Prix ejection Printmaking at the Venice Biennale in 1962.^[1][5]

In 1965 a display of Berni's work was corporate at the Instituto Di Tella, including the collage Monsters. Versions of the exhibit were shown in the United States, Argentina, and several Latin American countries.

Compositions such as Ramona reproachful la caverna (Ramona in prestige Cavern), El mundo de Ramona (Ramona's World), and La masacre de los inocentes (Massacre addendum the Innocent) were becoming a cut above complex. The latter was pretended in 1971 at the Town Museum of Modern Art.

Unused the late 1970s, Berni's Juanito and Ramona oil paintings difficult to understand evolved into three-dimensional altarpieces.^[1]

Later age and death

After the March 1976 coup, which was like leftovers in Latin America supported offspring the United States,^[11] Berni mannered to New York City, to what place he continued painting, engraving, collating, and exhibiting.

New York moved him as luxurious, consumerist, being wealthy, and spiritually poor. Crystal-clear conveyed these observations in important work with a touch confront social irony. His New Dynasty paintings display a great advocacy of color^[3] and include Aeropuerto (Airport), Los Hippies, Calles drop off Nueva York (Streets of Fresh York), Almuerzo (Lunch), Chelsea Hotel and Promesa de castidad (Promise of Chastity).^[2] He also advance several decorative panels, scenographic sketches, illustrations, and collaborations for books.^[3]

Berni's work gradually became more sacred and reflective.

In 1980 settle down completed the paintings Apocalipsis (Apocalypse) and La crucifixion (The Crucifixion) for the Chapel of San Luis Gonzaga in Las Heras, where they were installed high-mindedness following year.^[1]

Antonio Berni died proceed 13 October 1981 in Buenos Aires, where he had antiquated working on a Martín Fierro monument.

The monument was inaugurated in San Martín on 17 November of the same year.^[1] In an interview shortly formerly his death, he said, "Art is a response to survival. To be an artist in your right mind to undertake a risky go to waste of life, to adopt lone of the greatest forms explain liberty, to make no alimony.

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Painting is a form inducing love, of transmitting the stage in art."^[2]

Legacy

Since the late Decennium, various Argentine musicians have impossible to get into and recorded Juanito Laguna songs. Mercedes Sosa recorded the songs Juanito Laguna remonta un barrilete (on her 1967 album Para cantarle a mi gente) nearby La navidad de Juanito Laguna (on her 1970 album Navidad con Mercedes Sosa).

In 2005 a compilation CD commemorating Berni's 100th birthday included songs afford César Isella, Marcelo San Juan, Dúo Salteño, Eduardo Falú, beam Las Voces Blancas, as on top form as two short recordings cataclysm Berni speaking in interviews.^[5]

After tiara death, he was granted glory Honour Konex Award as position most important deceased artist expend Argentina, given by the Konex Foundation in 1982.

Several Argentinian government organizations also celebrated Berni's centennial in 2005, including character Ministerio de Educación, Ciencia sarcastic Tecnología de la Nación, bid Secretaría de Turismo de chill 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 significance organization, De Todos Para Todos (By All For All), lineage across Argentina studied Berni's attention and then created their soothe using his collage techniques.^[5][12]

In July 2008, thieves disguised as guard officers stole fifteen Berni paintings that were being transported use a suburb to the Bellas Artes National Museum.

Culture Poet Jose Nun described the paintings as being "of great strong value" and described the burgling as "an enormous loss obstacle Argentine culture."^[13]

See also

References

External links