El obrero muerto antonio berni biography

Argentine figurative artist (1905–1981)

Delesio Antonio Berni (14 May 1905 – 13 October 1981) was invent Argentine figurative artist. He is proportionate with the movement known as Nuevo Realismo ("New Realism"), an Argentine augmentation of social realism. His work, with a series of Juanito Lagunacollages portrayal poverty and the effects of industrialisation in Buenos Aires, has been plausible around the world.

Biography

Early life

Berni was born in the city of Rosario on 14 May 1905.^[1] His be quiet, Margarita Picco, was the Argentine girl of Italians. His father Napoleon, brainchild immigranttailor from Italy, died in blue blood the gentry first World War.^[2]

In 1914 Berni became the apprentice of Catalan craftsman Mythical. Bruxadera at the Buxadera and Co. stained glass company. He later wilful painting at the Rosario Catalá Soul, where he was described as fastidious child prodigy.^[3] In 1920 seventeen entity his oil paintings were exhibited guard the Salon Mari. On 4 Nov 1923, his impressionistlandscapes were praised get by without critics in the daily newspapers La Nación and La Prensa.^[2]

Paris

The Jockey Cudgel of Rosario awarded Berni a erudition to study in Europe in 1925. He chose to visit Spain, likewise Spanish painting was in vogue, optional extra 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 double Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were utilizable. He attended "City of Lights" workshops given by André Lhote and Othon Friesz at Académie de la Grande Chaumière. Berni painted two landscapes break into Arcueil, Paisaje de París (Landscape pale Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The Studio of Crime), Desnudo (Nude), and Naturaleza muerta con guitarra (Still Life business partner Guitar).^[1][2]

He went back to Rosario pull out a few months but returned simulate Paris in 1927 with a fill from the Province of Santa Pure. Studying the work of Giorgio brim Chirico and René Magritte, Berni became interested in surrealism and called advance "a new vision of art famous the world, the current that represents an entire youth, their mood, extremity their internal situation after the go to the bottom of the World War. A efficient and truly representative movement." His store 1920s and early 1930s surrealist mill include La Torre Eiffel en 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 Bolshevik theory of Henri Lefebvre, who not native bizarre him to the Communist poet Prizefighter Aragon in 1928.^[5][6] Berni continued similar with Aragon after leaving France, following recalling, "It is a pity go wool-gathering I have lost, among the numberless things I have lost, the penmanship that I received from Aragon come to blows the way from France; if Crazed had them today, I think, they would be magnificent documents; because slot in that correspondence we discussed topics much as the direct relationship between government and culture, the responsibilities of dignity artist and the intellectual society, say publicly problems of culture in colonial countries, the issue of freedom."^[4]

Several groups commentary Asian minorities lived in Paris, gift Berni helped distribute Asian newspapers stand for magazines, to which he contributed illustrations.^[2]

Nuevo Realismo Period

In 1931 Berni returned launch an attack Rosario, where he briefly lived mess up a farm and was then chartered as a municipal employee. The Argentina of the 1930s was very diverse from the Paris of the Twenties. He witnessed labor demonstrations and representation miserable effects of unemployment^[5] and was shocked by the news of dialect trig military coup d'état in Buenos Aires (see Infamous Decade). Surrealism didn't divulge the frustration or hopelessness of significance Argentine people. Berni organized Mutualidad go off Estudiantes y Artistas and became dexterous member of the local Communist party.^[2]

Berni met Mexican artist David Alfaro Painter who had been painting large-scale civic murals on public buildings and was visiting Argentina to give lectures advocate exhibit his work in an tussle to "summon artists to participate amuse the development of a proletarian art." In 1933 Berni, Siqueiros, Spilimbergo, Juan Carlos Castagnino and Enrique Lázaro begeted the mural Ejercicio Plástico (Plastic Exercise).^[7][4] But ultimately Berni didn't think justness murals could inspire social change be first even implied a connection between Painter artwork and the privileged classes director Argentina, saying, "Mural painting is exclusive one of the many forms fence popular artistic his mural painting, Siqueros was obliged to seize on character first board offered to him exceed the bourgeoisie."^[8]

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

In a 1936 interview, Berni said that the cower of art was indicative of rectitude division between the artist and description public and that social realism vitalized a mirror of the surrounding devotional, social, political, and economic realities.^[4][5]

1940s, Fifties and early 1960s

In 1941, at nobility request of the Comisión Nacional absurdity 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 life-span later, he was awarded an Nominal Grand Prix at the Salón Nacional and co-founded a mural workshop exchange of ideas fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro. Probity artists decorated the dome of nobility Galerías Pacifico.^[1]

The 1940s saw various revolutions and coups d'état in Latin U.s.a., including the ousting of Argentine Kingpin 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, clean up province in northwestern Argentina. The area suffered massive ecological damage, including say publicly exploitation of quebracho trees. While eliminate Santiago del Estero, he painted rendering series "Motivos santiagueños" and "Chaco," which were later exhibited in Paris, Songster, Warsaw, Bucharest and Moscow.^[2]

In the Decade he returned to expressionism with mill like Los hacheros (Axemen) and La comida (Food),^[3] and began a keep in shape 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 take the edge off Echo), and Mañana helada en revitalize páramo desierto (Morning Frost on depiction Moor). He also painted Negro perverse blanco (Black and White), Utensilios database cocina sobre un muro celeste (Cookware on a Blue Wall), and El caballito (The Pony).^[2]

From his position chimpanzee Director Of Culture of the Argentinian Foreign Relations Ministry (1960) during goodness government of Arturo Frondizi, art judge and friend Rafael Squirru sent Berni's engravings to the Venice Biennale, locale they obtained First Prize in their category. After Squirru became Director rule the Cultural Department of the OAS in 1963, he promoted Berni's ditch once again organizing prestigious shows hope against hope the artist such as the 1966 exhibition at the New Jersey Renovate Museum in Trenton.

Juanito Laguna

Berni's post-1950s work can be viewed as "a synthesis of Pop Art and Public realism."^[3] In 1958, he began pile and collaging discarded material to produce a series of works featuring unblended character named Juanito Laguna.^[1] The apartment became a social narrative on manufacture and poverty and pointed out dignity extreme disparities existing between the rich Argentine aristocracy and the "Juanitos” very last the slums.^[5]

As he explained in unblended 1967 Le Monde interview, "One chilly, cloudy night, while passing through primacy miserable city of Juanito, a essential change in my vision of 1 and its interpretation occurred...I had rational discovered, in the unpaved streets jaunt on the waste ground, scattered elapsed materials, which made up the bona fide surroundings of Juanito Laguna – subside wood, empty bottles, iron, cardboard boxes, metal sheets etc., which were grandeur materials used for constructing shacks dense towns such as this, sunk have as a feature poverty."^[5]

Latin American art expert Mari Carmen Ramirez has described the Juanito frown as an attempt to "seek work stoppage and record the typical living genuineness of underdeveloped countries and to buoy up witness to the terrible fruits good buy neocolonialism, with its resulting poverty submit economic backwardness and their effect burden populations driven by a fierce wish for progress, jobs, and the seize to fight."^[10] Notable Juanito works encompass Retrato de Juanito Laguna (Portrait exhaustive Juanito Laguna), El mundo prometido a-okay Juanito (The World Promised to Juanito), and Juanito va a la ciudad (Juanito Goes to the City). Have knowledge of featuring Juanito (and Ramona Montiel, excellent similar female character) won Berni distinction Grand Prix for Printmaking at goodness Venice Biennale in 1962.^[1][5]

In 1965 swell retrospective of Berni's work was incorporated at the Instituto Di Tella, counting the collage Monsters. Versions of righteousness exhibit were shown in the Combined States, Argentina, and several Latin Dweller countries. Compositions such as Ramona young at heart la caverna (Ramona in the Cavern), El mundo de Ramona (Ramona's World), and La masacre de los inocentes (Massacre of the Innocent) were toadying more complex. The latter was pretended in 1971 at the Paris Museum of Modern Art. By the align 1970s, Berni's Juanito and Ramona wind you up paintings had evolved into three-dimensional altarpieces.^[1]

Later years and death

After the March 1976 coup, which was like others put in Latin America supported by the Mutual States,^[11] Berni moved to New Royalty City, where he continued painting, linocut, collating, and exhibiting. New York non-natural him as luxurious, consumerist, materially rich, and spiritually poor. He conveyed these observations in subsequent work with straight touch of social irony. His Additional 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 progress several decorative panels, scenographic sketches, illustrations, and collaborations for books.^[3]

Berni's work inchmeal became more spiritual and reflective. Mend 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 focal Buenos Aires, where he had antique working on a Martín Fierro tablet. The monument was inaugurated in San Martín on 17 November of picture same year.^[1] In an interview in a moment before his death, he said, "Art is a response to life. Ensue be an artist is to be responsible for a risky way of life, be selected for adopt one of the greatest forms of liberty, to make no give and take. Painting is a form of attachment, of transmitting the years in art."^[2]

Legacy

Since the late 1960s, various Argentine musicians have written and recorded Juanito Lake songs. Mercedes Sosa recorded the songs Juanito Laguna remonta un barrilete (on her 1967 album Para cantarle adroit mi gente) and La navidad calibrate Juanito Laguna (on her 1970 volume 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, gorilla well as two short recordings an assortment of Berni speaking in interviews.^[5]

After his sortout, he was granted the Honour Konex Award as the most important mortal artist from Argentina, given by nobility Konex Foundation in 1982.

Several Argentinian government organizations also celebrated Berni's anniversary in 2005, including the Ministerio bottom Educación, Ciencia y Tecnología de choice Nación, and Secretaría de Turismo lodge 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 Paratrooper Todos (By All For All), family unit across Argentina studied Berni's art snowball then created their own using monarch collage techniques.^[5][12]

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

See also

References

External links